Mahmoud Darwish (1942-2008) was the poetic voice of the Palestinian people. One of the most acclaimed contemporary poets in the Arab world, he was also a prominent spokesman for human rights who spent most of his life in exile. In his early work, the features of his beloved land - its flowers and birds, towns and waters - were an integral part of poems witnessing a string of political and humanitarian tragedies afflicting his people. In his most recent books, his writing stands at the border of earth and sky, reality and myth, poetry and prose. Returning to Palestine in 1996, he settled in Ramallah, where he surprised his huge following in the Arab world by writing a book of love, The Stranger's Bed (1998), singing of love as a private exile, not about exile as a public love. A State of Siege (2002) was his response to the second Intifada, his testament not only to human suffering but to art under duress, art in transmutation. The 47 short lyrics of Don't Apologise for What You've Done (2003) form a transfiguring incarnation or incantation of the poet after the carnage. The Butterfly's Burden is a translation of these three recent books. It was awarded the Saif Ghobash-Banipal Prize for Arabic Literary Translation in 2008. Arabic-English bilingual edition.

The Blue Light is an autobiographical novel in chapters and vignettes that travels through memory, time, and language. Hussein Bargouthi tells his story with Bari, a Turkish American Sufi, during Bargouthi’s years as a graduate student at the University of Washington in the late 1980s. The Blue Light has several beginnings and many returns—from Beirut’s traumatic sea to musings on color and identity, from Buddhist paths to Rajneesh disciples, from military rule to colonial insanity, from drug addiction to sacred rock. Written and lived between Arabic and English, this is a unique book whose depth is as clear as its surface. It will tempt you to dismiss it as it compels you to devour it for illumination. Merging memoir with fiction, and the hallowed with the profane, The Blue Light is a meditation on and liberation from madness—a brilliant, inimitable literary achievement.

A Library Journal Best Book of Poetry of 2021 A collection born of polyphony and the rhythms of our cosmos-intimate in its stakes, celestial in its dreams. Tethered to Stars inhabits the deductive tongue of astronomy, the oracular throat of astrology, and the living language of loss and desire. With an analytical eye and a lyrical heart, Fady Joudah shifts deftly between the microscope, the telescope, and sometimes even the horoscope. His gaze lingers on the interior space of a lung, on a butterfly poised on a filament, on the moon temple atop Huayna Picchu, on a dismembered live oak. In each lingering, Joudah shares with readers the palimpsest of what makes us human: "We are other worms / for other silk roads." The solemn, the humorous, the erotic, the transcendent-all of it, in Joudah's poems, steeped in the lexicon of the natural world. "When I say honey," says one lover, "I'm asking you whose pollen you contain." "And when I say honey," replies another, "you grip my sweetness / on your life, stigma and anthophile." Teeming with life but tinged with a sublime proximity to death, Tethered to Stars is a collection that flows "between nuance and essentialization," from one of our most acclaimed poets.

Mahmoud Darwish is a literary rarity: at once critically acclaimed as one of the most important poets in the Arabic language, and beloved as the voice of his people. A legend in Palestine, his lyrics are sung by fieldworkers and schoolchildren. He has assimilated some of the world's oldest literary traditions while simultaneously struggling to open new possibilities for poetry. This collection spans Darwish's entire career, nearly four decades, revealing an impressive range of expression and form. A splendid team of translators has collaborated with the poet on these new translations, which capture Darwish's distinctive voice and spirit. Fady Joudah's foreword, new to this edition, addresses Darwish's enduring legacy following his death in 2008.

"Mahmoud Darwish is the Essential Breath of the Palestinian people, the eloquent witness of exile and belonging, exquisitely tuned singer of images that invoke, link, and shine a brilliant light into the world's whole heart. What he speaks has been embraced by readers around the world-his in an utterly necessary voice, unforgettable once discovered."-Naomi Shihab Nye

Mahmoud Darwish is the leading poet in the Arab world, an artist and activist who attracts thousands to his public readings.

"The Butterfly's Burden" combines the complete text of Darwish's two most recent full-length volumes, linked by the stunning memoir-witness poem "A State of Siege." Love poems, sonnets, journal-like distillations, and interlaced lyrics balance old literary traditions with new forms, highlighting loving reflections alongside bitter longing.

From Sonnet [V]

"I touch you as a lonely violin touches the suburbs of the faraway place.
Patiently the river asks for its share of the drizzle.
And, bit by bit, a tomorrow passing in poems approaches
so I carry faraway's land and it carries me on the road."

Mahmoud Darwish is the author of 30 books of poetry and prose, as well as the Palestinian Declaration of Independence. He has worked as a journalist, was director of the Palestinian Research Center, and lived in exile until his return to Palestine in 1996. He has received many international awards for his poetry.

Translator Fady Joudah is a physician based in Houston, Texas, and holds an MFA from Warren Wilson. He is active in Doctors Without Borders.

Translated from the Arabic and introduced by Fady Joudah, You Can Be the Last Leaf draws on two decades of work to present the transcendent and timely US debut of Palestinian poet Maya Abu Al-Hayyat. Art. Garlic. Taxis. Sleepy soldiers at checkpoints. The smell of trash on a winter street, before "our wild rosebush, neglected / by the gate, / blooms." Lovers who don't return, the possibility that you yourself might not return. Making beds. Cleaning up vomit. Reading recipes. In You Can Be the Last Leaf, these are the ordinary and profound-sometimes tragic, sometimes dreamy, sometimes almost frivolous-moments of life under Israeli occupation. Here, private and public domains are inseparable. Desire, loss, and violence permeate the walls of the home, the borders of the mind. And yet that mind is full of its own fierce and funny voice, its own preoccupations and strangenesses. "It matters to me," writes Abu Al-Hayyat, "what you're thinking now / as you coerce your kids to sleep / in the middle of shelling": whether it's coming up with "plans / to solve the world's problems," plans that "eliminate longing from stories, remove exhaustion from groans," or dreaming "of a war / that's got no war in it," or proclaiming that "I don't believe in survival." In You Can Be the Last Leaf, Abu Al-Hayyat has created a richly textured portrait of Palestinian interiority-at once wry and romantic, worried and tenacious, and always singing itself.

"With anatomical precision, Joudah illustrates scenes that are at once uncanny and contemporary, be it a Bedouin woman's lavender mourning veil, the chrome doors to an alchemist's home, or the mysterious speaker in 'Smoke, ' who exits abruptly and claims to have 'scripts to write and scrolls to find, ' a testament to the duties of attending physician and displaced poet alike. In both roles, Joudah has records to keep and history to revisit, and does so beautifully."--"Booklist"

"Joudah's poetry is rich with the influences and styles of both American and Arabic poetry. It can be personal and image-driven, by turns, as well as discursive and social. Its lyric gifts are as powerful as its narrative impulse."--"Kenyon Review"

"Throughout "Alight"'s carefully structured arc of movement and within its individual poems, the quotidian resides within the mythic. Joudah's is an art written out of experience, rather than about it...Poetry like Joudah's strikes a match into our dark places."--"Poet Lore"

The poems in "Alight" alternate between the estranging familial and strangely familiar, between burning and illumination. As father, husband, and physician, Fady Joudah gives children and vulnerable others voice in this hauntingly lyrical collection, where, with quiet ferociousness, one's self can be reclaimed from suffering's grip over mind and spirit.

Fady Joudah is a Palestinian-American poet, translator, and physician of internal medicine. He received his medical training from the Medical College of Georgia and University of Texas, and served with Doctors Without Borders in 2002 and 2005. His first book, The Earth in the Attic, won the 2007 Yale Series of Younger Poets competition, judged by Louise Gluck. In 2010 he received a PEN translation award for his translations of Palestinian poet Mahmoud Darwish.

An exquisite and humane collection set to leave its mark on American poetics of the body and the body politic. In Footnotes in the Order of Disappearance, Fady Joudah has written love poems to the lovely and unlovely, the loved and unloved. Here he celebrates moments of delight and awe with his wife, his mentors, his friends, and the beauty of the natural world. Yet he also finds tenderness for the other, the dead, and the disappeared, bringing together the language of medicine with the language of desire in images at once visceral and vulnerable. A symptomatic moon. A peach, quartered like a heart, and a heart, quartered like a peach. “I call the finding of certain things loss.� Joudah is a translator between the heart and the mind, the flesh and the more-than-flesh, the word body and the world body—and between languages, with a polyglot’s hyperresonant sensibility. In “Sagittal Views,� the book’s middle section, Joudah collaborates with Golan Haji, a Kurdish Syrian writer, to foreground the imaginative act of constructing memory and history. Together they mark the place the past occupies in the body, the cut that “runs deeper than speech.� Generous in its scope, inventive in its movements and syntax, Footnotes in the Order of Disappearance is a richly rewarding and indispensable collection.

A Map of Signs and Scents is a collection of sixty poems by an acclaimed poet whose life and work span Middle Eastern and Western worlds, centuries past and the vivid present, the sweep of history and the intimacy of love. Born in Jordan in 1955, Amjad Nasser has lived and worked in Beirut, Cyprus, and London. His work reflects a nuanced view of the currents of history along which individual lives play out, putting him in conversation with such poets as C. P. Cavafy, Octavio Paz, and Derek Walcott. And yet, within his peripatetic life, Nasser has produced a corpus of work that, far from evoking the alienation possible in a life of motion, puts him in deep camaraderie with the world. Through fresh translations by the award-winning poets Fady Joudah and Khaled Mattawa, readers will experience the fascinating evolution of Nasser's style through his prolific, highly praised career, starting with samples of the rich textures and fertile symbolism of his 1979 debut Praise for Another Cafe. In selections from subsequent works such as Climbing the Mountain since Gilead, The Strangers Arrive, and Life like a Broken Tale, readers will trace Nasser's work as it develops into a mature style that, while more precise and direct, confidently encompasses broad horizons.

"The Earth in the Attic reads like a quiet storm of human emotions and experiences. . . . Joudah's poems explore loss, displacement, suffering, and longing. They drift from the personal and specific to the larger stories of peoples and nations that Joudah encounters. . . . [His] unique talent is to offer poetry readers a look at a wounded and fractured world through his eyes."-Lena Khalaf Tuffaha, The Institute for Middle East Understanding Winner of the Yale Younger Poets competition, 2007 In The Earth in the Attic Fady Joudah, a Palestinian-American physician, explores big themes-identity, war, religion, what we hold in common-while never losing sight of the quotidian, the specific. Contest judge Louise Gluck describes the poet in her Foreword as "that strange animal, the lyric poet in whom circumstance and profession . . . have compelled obsession with large social contexts and grave national dilemmas." She finds in his poetry an incantatory quality and concludes, "These are small poems, many of them, but the grandeur of conception is inescapable. The Earth in the Attic is varied, coherent, fierce, tender; impossible to put down, impossible to forget."