World Literature Today最新文献

{"title":"The West's \"Other\" World Novel","authors":"Will H. Corral","doi":"10.1353/wlt.2024.a916067","DOIUrl":"https://doi.org/10.1353/wlt.2024.a916067","url":null,"abstract":"","PeriodicalId":23833,"journal":{"name":"World Literature Today","volume":"58 1","pages":"36 - 39"},"PeriodicalIF":0.0,"publicationDate":"2023-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139165426","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Delayed Symptomatic Lumboperitoneal Shunt Malfunction 18 Years After Stability.","authors":"Ryung Lee, Peter Mortensen, Subahari Raviskanthan, Saeed Sadrameli, Nagham Al-Zubidi, Andrew G Lee","doi":"10.1097/WNO.0000000000001585","DOIUrl":"10.1097/WNO.0000000000001585","url":null,"abstract":"","PeriodicalId":23833,"journal":{"name":"World Literature Today","volume":"62 1","pages":"e169-e170"},"PeriodicalIF":2.9,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91032420","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Lone Women by Victor Lavalle (review)","authors":"Adele Newson-Horst","doi":"10.1353/wlt.2023.a910275","DOIUrl":"https://doi.org/10.1353/wlt.2023.a910275","url":null,"abstract":"Reviewed by: Lone Women by Victor Lavalle Adele Newson-Horst VICTOR LAVALLE Lone Women New York. One World. 2023. 304 pages. BOTH THE EPIGRAPH to Victor La-Valle's new novel (taken from Toni Morrison's Song of Solomon) and the opening paragraph conspire to capture the reader in a web of masterful storytelling. Immediately, attention is drawn to metaphorical flight. A thirty-year-old woman flees California with a massive steamer trunk and $154 in hopes of establishing a homestead in Montana. Yet she is haunted by her mother's assessment of women as mules and her secret concerning the deaths of her parents. Adelaide Henry believes that lone women can have success in life. Yet there are few Black women in early twentieth-century western United States. The women she meets along the way enjoy varying degrees of success, and each has an enormous secret. Characters include a wealthy suffragette, a Black bootlegger, her Chinese lesbian lover and laundress, a schoolteacher unusually devoted to her son, and an utterly unrepentant scoundrel of a mother. Told in three parts, the story beings in 1913, when a colony of Blacks have established claims in Lucerne, California. Adelaide and her mother and father are viewed as \"queer folks\" by the others in the colony. They largely keep to themselves, weighed down by a secret that prevents their complete socialization with others in the community. In the work, women are foregrounded as either heroines or villains. That is to say, not all the women are good, and not all good women characters are without their imperfections. The reader suspects Adelaide of nefarious deeds as she hastens her departure from California and ultimately lands in Sandy Springs, Montana. Added to this, the narrator is a curious mix of the period and the present, certainly not quite early twentieth century and not objective in his storytelling—reminiscent of the narrator in Charles Johnson's Middle Passage. While searching for Adelaide, who the town's men believe is the cause of their ill luck, the leader of the vigilantes becomes enraged and the narrator observes, \"The other men gathered in the doorway, watching Jack Reed losing his shit.\" The women of the novel are unattached from men for a multitude of reasons. Yet they attempt to exist in the vast space that is late nineteenth- and early twentieth-century Montana. The one attached character has complete control over her husband, Jack Reed, the leader of the vigilantes and among the richest men in town. The novel has much to commend itself to readers. It's captivating, and each chapter's end leaves readers wanting more answers. It flirts with horror. Is there actually a creator \"five stories high and just as wide,\" or is it a matter of skewed perception: an inability to see? But the best part of the work is its delicate treatise on women and space—the space they are given to exist, by both men and other women. [End Page 61] Adele Newson-Horst Morgan State University Copyright © 2023 World L","PeriodicalId":23833,"journal":{"name":"World Literature Today","volume":"144 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135161197","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Tali Girls: A Novel of Afghanistan by Siamak Herawi (review)","authors":"Anna Learn","doi":"10.1353/wlt.2023.a910276","DOIUrl":"https://doi.org/10.1353/wlt.2023.a910276","url":null,"abstract":"Reviewed by: Tali Girls: A Novel of Afghanistan by Siamak Herawi Anna Learn Siamak Herawi Tali Girls: A Novel of Afghanistan Trans. Sara Khalili. New York. Archipelago Books. 2023. 340 pages. TALI GIRLS, Afghan author Siamak Herawi's first novel to be translated into English (melodically, by Sara Khalili), is a propulsive and sprawling debut. At the heart of Tali Girls is Kowsar. When the novel opens, Kowsar is a child, and her world is enchanted. Her family's house in the Afghan village of Tali rests on one side of a valley, next to a riverbank. \"Our valley is green and lush,\" Kowsar says, \"drunk with springs, waterfalls, and streams that intricately weave their way to where they meet and create a roaring mountain river.\" At night, the moon showers this river in its \"creamy glow,\" while frogs and crickets sing, and \"poplars' leaves sway like dangling earrings.\" Outsiders from the nearby provincial capital of Qala-e-Naw call Tali \"heaven,\" imagining that modernity's sullying fingers have yet to touch the valley. It is shortly after the US invasion of Afghanistan, and there is no electricity, television, or education for the children in Tali. But then, in 2006, the government sends funds to build a school in the mountainous community, which is to change the course of Kowsar's life. It is immediately apparent that Kowsar is a prodigy. She has a photographic memory and is elated by the process of learning. Hungry for knowledge of the world around her, she memorizes entire textbooks in mere weeks and can recite the poetry of Hanzalah Badghisi after hearing the local poet's verses just once. Kowsar is unique in other, more grim ways, too. She suffers from convulsive syncope, moments when she goes out of her body or loses consciousness due to overwhelming emotion. To herself, Kowsar thinks of this as \"going gray,\" a time when her world drains of color. Indeed, there are many dark moments in Tali Girls. As Kowsar grows older, the town around her begins to change; heaven turns to hell. The Taliban arrive in the area and burn the school to the ground. The liberal schoolteachers are publicly humiliated for \"corrupting and perverting children\"—that is, for teaching them to read. The Taliban (partnering strategically with the provincial government) strongarm the people of Tali into replacing their traditional crops of wheat, peas, and mung beans with the more profitable cash crop of opium. Soon, many young men in the community become addicted to the drug, their speech slowed and their once-muscular bodies turned frail. Kowsar is saddened to see them and thinks to herself that the village youth are like \"black skeletons in the hands of the wind, the poppy farms soon to be their graveyard.\" Suffering is particularly acute for the women and girls of Tali. One of Kowsar's friends, the beautiful Simin, is married off at nine years old to a lecherous older man to save her family from destitution (I hate this fetid silo of filth, Simin thinks to herself of her new ","PeriodicalId":23833,"journal":{"name":"World Literature Today","volume":"147 2","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135161321","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Ruins","authors":"Lauren K. Watel","doi":"10.1353/wlt.2023.a910252","DOIUrl":"https://doi.org/10.1353/wlt.2023.a910252","url":null,"abstract":"Ruins Lauren K. Watel (bio) \"Ruins give us this beautiful idea,\" writes the author, \"that you could make something, something wonderful and strange, as pleasing as you could, imbuing it with something of yourself.\" Yet even the self, subject to time, must evanesce. Click for larger view View full resolution Photos courtesy of the author [End Page 20] I Today the wind churns up, as if on some terrible errand of vengeance; trees uprooted all over the city, parks closed for damage assessment. But I'm out in the weather, on a day trip to a site that was once an ancient port city at the mouth of the river, where women had their ecstatic visions, where pirates kidnapped senators, where residents and visitors thronged the theater and the public baths. The port city now mostly foundations and rubble, arrayed in the rough shapes of houses and apartments and shops and baths and temples, columns jutting up now and then like the first weeds growing back after a fire. Acres of ruins sit exposed to the elements, cragging and crumbling even further into ruin. I roam among the cypresses and umbrella pines and the ancient, weathered stones, placed there by the wealthy and the ambitious for purposes, noble and ignoble, that have always moved men to build things, and still do. Here a headless statue, there fragments of frescoes—one depicting a pair of human legs, painted in the faded pastels of time passing. Marvelous mosaics appear underfoot, naked men posed in warlike stances and holding spears, horses with the hindquarters of a serpent, fanciful fish, leafy patterns. In moments like this, when coming upon a fragment of a fresco with a pair of legs, legs not unlike my own, I feel a sense of astonished recognition, though of what, or whom, I'm not sure. Maybe it's just the dumb luck of those legs having survived. And the tenaciousness of art, which is moving in part because utterly useless—against time, against loss. Moving also because nonetheless hopeful, a recognition of our shared humanity, our shared mortality. Those ancient legs, which seem capable of stepping off that chunk of wall, so alive do they seem. Each discovery miraculous, these ancient hints of human making, the impulse to beautify, to decorate, to tell stories. We are gifted with it, compelled by it, this impulse, and we feel that kinship of makers, which easily stretches its arm across centuries and oceans, and in that stretching allows us an acquaintance, as if we were standing across from each other and shaking hands. We need know nothing about the artist's particulars—those details denied us by the erasures of time, even if we sought them—to feel the thrill of connection. We need know nothing at all, not even the artist's name. The ruins give us this beautiful idea: that you could make something, something wonderful and strange, as pleasing as you could, imbuing it with something of yourself. And if you managed to send it out into the world and it managed to last, even as a ruin, it could spe","PeriodicalId":23833,"journal":{"name":"World Literature Today","volume":"145 5","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135161330","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Schlemiel & Schlimazel","authors":"Veronica Esposito","doi":"10.1353/wlt.2023.a910248","DOIUrl":"https://doi.org/10.1353/wlt.2023.a910248","url":null,"abstract":"Schlemiel & Schlimazel Veronica Esposito (bio) Coming into existence sometime in the Middle Ages, as the Jewish communities throughout Europe grappled with continual dislocation and mistreatment by the dominant culture, the notion of the schlemiel was destined for a long and interesting literary life—continuing to this day. In order to offer its translation, I will need to pair it with the Yiddish word schlimazel, as these words often go together; their most succinct English translation is commonly stated as follows: a schlemiel is somebody who tends to spill his soup, and a schlimazel is the person it lands on. Both words begin with sch, which is common in Yiddish, often indicating derision; English speakers will recognize it from the from oft-used formation such as \"problems schmoblems—I'll show you real problems,\" or the word schmuck. Schlimazel derives from the Yiddish phrase schlim mazel, which means \"rotten luck\" (the mazel of course coming from the celebratory Hebrew toast mazel tov). The derivation of schlemiel is less clear, although there is agreement that the word was popularized by Adelbert von Chamisso's 1813 novella Peter Schlemihls wundersame Geschichte (The Wonderful History of Peter Schlemihl), which stars one Peter Schlemihl, who makes a deal with the devil and ends up losing his shadow. Yiddish literature scholar Ruth R. Wisse locates the schlemiel, schlimazel, and associated types as emerging from the figure of the Jewish fool, which developed in the Middle Ages as a way of mediating the encounters of Jewish people with dominant European cultures. She goes on to conjecture that the figures of the schlemiel, schlimazel, and others were likely valuable to a people living a precarious existence, without a land to call home, and subject to frequent persecution. Yiddish is believed to have originated around the tenth century, as Jewish speakers of Romance languages who were conversant in Hebrew or Aramaic for religious purposes arrived in the Rhine Valley, interacting with other Jewish people who spoke German. From this mixture of languages and culture the Yiddish language was born. Utilizing Hebrew script, the first written Yiddish is typically dated to 1272, with a blessing that someone jotted in a Hebrew prayer book. Yiddish began to develop its own literary works around the fourteenth century, and by the late nineteenth century it had emerged as a major language among Jewish people in eastern Europe, seen as a force that could hold the community together, be a source of shared cultural heritage, and help resist assimilation. It was at this point that the language began to develop a collection of writers and intellectuals working in it; the language remains a relative outlier in the sense that it has developed a rich literature in spite of not being a national language. In the early twentieth century, as Yiddish peaked in cultural significance, the number of Yiddish speakers also peaked, numbering around eleven million. That num","PeriodicalId":23833,"journal":{"name":"World Literature Today","volume":"150 4","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135161446","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Of Cattle and Men by Ana Paula Maia (review)","authors":"J. R. Patterson","doi":"10.1353/wlt.2023.a910277","DOIUrl":"https://doi.org/10.1353/wlt.2023.a910277","url":null,"abstract":"Reviewed by: Of Cattle and Men by Ana Paula Maia J. R. Patterson ANA PAULA MAIA Of Cattle and Men Trans. Zoë Perry. Edinburgh. Charco Press. 2023. 104 pages. OF CATTLE AND MEN is an excellent book of many dark, quiet questions. What does death mean to men who work in a slaughterhouse, who manually dispatch one hundred heifers and steers a day, six days a week? Their hands and face are accustomed to the feel of blood, their noses to its ferrous smell. As soon as one beast is dispatched, another appears. From beast to meat, over and over again. Ana Paula Maia's is a world where meat reigns supreme, where prostitutes are paid with it by the kilo, where so much blood flows into the rivers they turn salty. \"In those places where blood mixes with soil and water, it's difficult to make any sort of distinction between man and animal.\" The murder of a man is casually overlooked. Why not? If he is replaceable, just one of the herd, what loss was it really? Prey and pray is the juxtaposition that Maia posits. If meat-eating is natural, then the argument is atheistic: why shouldn't we eat meat, made as we are for such a diet, with our pointed teeth and predator-like cunning? However, if the meat we eat is sacrificial, a choice of believing we should do so, our attitude toward the animals we slaughter is more agnostic than devout; we skip grace and go straight for the feast. Edgar Wilson, the central character, is a sensitive soul who \"cares about ordaining the souls of each ruminant that crosses his path.\" He prays for the salvation of the souls of the cattle he slays. The lime cross he draws on their foreheads evokes baptism, repentance, death-bed conversion. It also marks the location where he drives his killing mallet home. A believer, he feels there will be no salvation, that his violent work will keep him from heaven. For him, \"there will be no dawn, nor the emergence of the Creator. . . . He's not proud of what he does, but if someone has to do it, then let it be him, who has pity on those irrational beasts.\" Eating meat carries an element of the Catholic sacrament; the blood and body of a sacrifice eaten to become one with the greater whole. An abandoned slaughterhouse is a defiled church, raided and sacked. A broken statue of São Roque, the Catholic saint invoked to protect against diseases afflicting cattle and dogs, alludes to some broken pact with, if not a higher power, then our better nature. Nature, in this sense, covers two contrasting things: the way we choose to act, and the way we are naturally bound to act. Technology, urbanization, and consideration of animal rights have drastically altered our relationship with animals. Whether that has been a good change is indeterminate, but it has caused our desires to become unaligned with our needs. How much of our animal selves (our animal desires) can we retain and remain human? If you crave the taste of meat, are you truly opposed to murder? We are a reflection of our actions as a society as much","PeriodicalId":23833,"journal":{"name":"World Literature Today","volume":"150 3","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135161447","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Prophetic Witness in the American Empire: A Conversation with Cornel West","authors":"Karlos K. Hill","doi":"10.1353/wlt.2023.a910266","DOIUrl":"https://doi.org/10.1353/wlt.2023.a910266","url":null,"abstract":"Prophetic Witness in the American EmpireA Conversation with Cornel West Karlos K. Hill (bio) Click for larger view View full resolution Photo by Stacey Reynolds In his ongoing column, Karlos K. Hill highlights the efforts of cultural figures doing works of essential good around issues of social justice. Cornel West, who recently retired from Princeton University as the Class of 1943 University Professor in the Center for African American Studies, visited the University of Oklahoma in August 2023. He was on campus to take part in OU's Presidential Speaker Series in a point/counterpoint discussion, \"Saving America: Conflicting Views in Civil Dialogue,\" with his Princeton colleague Robert P. George. Dr. West graciously sat down with me before that conversation to take part in the following exchange for World Literature Today. [End Page 49] Karlos K. Hill: Brother West, I've been wanting to tell you that the title of my \"Bearing Witness\" column comes directly from you. It's inspired by you. Cornel West: That's fascinating. Hill: Of all my framings, I use bearing witness the most because I've heard you talk about it the most: we've got to bear witness to injustice. So, this column in World Literature Today is definitely inspired by you. And I've made bearing witness, because of you, the cornerstone of how I organize my academic life. It's not just about teaching, it's about bearing witness. You know, there's a profound difference between teaching and bearing witness as you teach. I've learned to center that—not only the scholarship but just being in the world—because you centered it as a Black studies scholar, very publicly and unabashedly. This column is really an homage to you. I just want you to know that. Click for larger view View full resolution Photo courtesy of AAE Speakers. West: That's beautiful. I appreciate that, brother, I really do. I'm touched by it, man, because we're all cracked vessels, you know? We are trying to do the best that we can do. Bearing witness is all about trying to be true to the best that's been poured into us by those who came before, who set such high standards, and we all fall short. Samuel Beckett is right: you try again, fail again, fail better, in that beautiful line in his last prose fiction. And yet, even in failing better, we are able to at least be forces for good, in John Coltrane's language. That's really what it's all about. Whatever the context is—it could be in the classroom, could be in the street, could be in the cell, could be in the suite; it could be in the church, the mosque, the synagogue; it could be on the corner, could be in the nightclub—we all can bear witness. Now, of course, it's also biblical, which is to say it's about kenosis, you see? It's about emptying yourself. It's about resisting the compartmentalization and the specialization that goes with professionalization. When you professionalize, you undergo a certain kind of process and set of protocols where you can become a master and th","PeriodicalId":23833,"journal":{"name":"World Literature Today","volume":"150 2","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135161448","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Retranslations","authors":"C. Luke Soucy","doi":"10.1353/wlt.2023.a910249","DOIUrl":"https://doi.org/10.1353/wlt.2023.a910249","url":null,"abstract":"Retranslations C. Luke Soucy (bio) The Consuming Fire: The Complete Priestly Source, from Creation to the Promised Land Trans. Liane M. Feldman University of California Press, 2023 The Aeneid: Revised and Expanded Edition Trans. Sarah Ruden Yale University Press, 2021 Enheduana: The Complete Poems of the World's First Author Trans. Sophus Helle Yale University Press, 2023 While working on a new verse translation of Ovid's Metamorphoses, I discovered that skepticism toward my project tended to follow a specific trajectory. People who began with perhaps too much faith in translators' ability to vault language barriers (\"but hasn't that been translated already?\") would grow uncomfortable when shown how dissimilar two translations can be (\"but they say different things!\"). To be sure, variations sometimes do stem from a lack of translatorial scruples, but more often they arise from the literary truth that a single text can mean multiple things, particularly when it has had millennia to accrue, adjust, and slough off those meanings. The more ancient, foreign, complex, lyrical, or fragmentary a work is, the more dispute there will be over how best to translate it into a form meaningful to modern readers of modern languages in a modern culture. As the saying goes, every translation is an interpretation—yet this is not all that makes retranslation worthwhile. With new times come not only new interpreters but new priorities regarding both what gets translated and who gets to do the translating. In my case, since Ovid's importance to the canon was only reestablished through the political shifts of the late twentieth century, the insights resulting from that renewed attention have become available just recently, when I found myself among the first crop of Ovidian translators who are not straight or white, let alone over thirty. As the field of classics diversifies its study and students alike, translations continue to bring new things to light in even the oldest and most seemingly settled texts. The three books recommended below are among the latest to typify this exciting trend. Two decades in the making, Robert Alter's majestic and magisterial rendering of the Hebrew Bible is undoubtedly among the most impressive translations in recent memory. Yet a mere five years later, Liane M. Feldman's The Consuming Fire demonstrates how even the best translations involve curatorial choices that open alternate paths for others. Scholars have long recognized the five books of the Torah as an interweaving of earlier sources, largely distinct from each other in style, diction, and theme. But Alter's approach—primarily treating the Bible as a work of literature—necessarily and laudably smoothed over these differences, harmonizing the disjunct voices to stunning effect. By translating only the Priestly Source, however, Feldman takes precisely the opposite tack, isolating the most divergent of those voices in a spare, hypnotic idiom that emphasizes the source's cohesion as","PeriodicalId":23833,"journal":{"name":"World Literature Today","volume":"149 5","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135161451","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"All Alone","authors":"Katerina Anghelaki-Rooke","doi":"10.1353/wlt.2023.a910258","DOIUrl":"https://doi.org/10.1353/wlt.2023.a910258","url":null,"abstract":"All Alone Editorial note: First published in 1956, reprinted in Poiimata, 1963–1977 (Kastaniotis, 1997). Translated by Karen Van Dyck (bio) Click for larger view View full resolution If you mix rainwater with tearslaughter with suntornado and the wind with rising indignation. If you cry for the children, barefootopen-handed, whose approaching facesglow with late afternoonyou will find yourself all alone. If you turn to the people around youyou will see yourself reflected in their indifferent eyes,desperate, completely alone. And, again, if you choose the high road,implore them to believe in themselves,you will only give them another excuse for bitternessbecause they won't know how, it will be too muchand, again, you will find yourself all alone. If you proclaim your loveit will return, empty, hollow, your same old voicebecause you didn't have the courage to pass by allthe boarded-up doors, worn-out footsteps,muddied streets. The voice you sent out trembling, full of longingwill come back to you with words you never said,words of your loneliness. O God, what will become of us?How will we continue?How will we believe? How will we deceive ourselves?With the strange escape of thingsand souls right next to us? One road exists, one way,one victory only:to believe, become, continueon our own. Translation from the Greek [End Page 37] Katerina Anghelaki-Rooke Katerina Anghelaki-Rooke (1939–2020) studied translation and interpretation at the University of Geneva. She was awarded the First Prize for Poetry of the City of Geneva (1962), the Greek Academy's Poetry Prize (2000), and the Greek National Prize for Literature (2014) and was a finalist for the Neustadt Prize (2008). She attended the International Writing Program at Iowa and was a Fulbright visiting lecturer at Harvard. She published over twenty books of poetry and was an acclaimed translator of Seamus Heaney and Alexander Pushkin, among many others. Karen Van Dyck Karen Van Dyck is the Kimon A. Doukas Professor of Modern Greek Literature at Columbia University. Her translations include Margarita Liberaki's novel Three Summers, shortlisted for the Warwick Women in Translation Prize (2022); the anthology Austerity Measures: The New Greek Poetry, winner of the London Hellenic Prize (2016); and Katerina Anghelaki-Rooke's The Scattered Papers of Penelope: New and Selected Poems, a Lannan Translation Selection (2009). Copyright © 2023 World Literature Today and the Board of Regents of the University of Oklahoma","PeriodicalId":23833,"journal":{"name":"World Literature Today","volume":"144 6","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135161192","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}