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Words were created with man, and literature has the honor of being among his weapons |
Since the dawn of humanity, man has always been striving for freedom, and because words were created with him, literature has had the honor of being among the weapons of resistance. Literature of resistance has a double intention. The first is to address the resisters, express their suffering, raise their awareness and incite them to participate more. The Second is to address the outside world to draw its compassion to the cause.
Oppressors have always considered this weapon dangerous, for not only does it incite people to resist more, but also it is available to all hands in each village and workshop to be recited by peasants and workmen. Moshe Dayan, the former Israeli Minister of Defense, realized the perilous nature of that weapon when he read a poem by Fadwa Tuqan celebrating women resisters on the West Bank. He said, “The poem was equal to twenty commandos” (Jacobson, p. 10). The discomfort from this poetry pushed the Israelis to continuously fight against the Palestinian literature, so that “The appearance of a new generation of Palestinian resistance poets inside Israel might seem at first some sort of a miracle” (Elmessiri, p.3).
Historical backgrounds
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| The historical background of Irish struggle is significant and it helps in understanding their poetry |
The historical backgrounds of the Irish and Palestinian struggles are significant and help in understanding their poetry, which is a direct reflection of the different stages of these struggles. Their histories are somewhat similar, although the Irish case is 650 years older than the Palestinian.
In Ireland, the first British involvement was in 1169, when Anglo-Norman troops colonized the island, pitching battles against the native Gaels who had settled there in 700 b.c. The English gradually expanded their reach over the island. Religious persecution of Catholic Irish grew, in particular after Elizabeth I, a Protestant, ascended to the throne in 1558. Oliver
Cromwell’s siege of Ireland in 1649 ended with massacres of Catholics at Drogheda and Wexford and forced the resettlement of thousands, many of whom lost their homes in the struggle. By 1691, with the victory of the Protestant English King William III over the Catholic forces of James II, Protestant supremacy in Ireland had become complete.
In 1916, Irish nationalists stormed the Post Office in Dublin during Easter Week and proclaimed the formation of an Irish Republic. The uprising failed and most of the leaders were eventually executed. However, the action resulted in the formation of Sinn Fein (which advocated Irish independence) with de Valera as its leader. Sinn Fein formed its own Irish Parliament in Dublin with de Valera as its President, and the violence escalated as the Irish Republican Army (IRA), led by Michael Collins, fought Britain in a bloody war for independence. As a result, Britain partitioned the island. Sinn Fein and British officials signed the Anglo-Irish treaty, 1921, which created an Irish Free State over the southern counties and a northern state of six counties under British control. But the IRA waged a violent underground campaign against the treaty in the 1920s, even killing former comrade Michael Collins, a treaty signatory. The British forces strongly retaliated and the climax of this clash was on the two Bloody Sundays in Dublin and then in Derry.
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In Palestine, the first British involvement was in 1917, which paved the way for Jewish settlers to start immigrating and usurping land from the native Arabs who were descendants of the Canaanites who settled in Palestine between the sixth and third centuries b.c. The Zionists expanded their reach, based on their claims of Biblical promise. They massacred the natives horribly, as in Dair Yassin in 1948, scaring people away, forcing many of them to resettle in other countries or refugee camps, and causing intolerable sufferings and discrimination against those who stayed. The Zionists seized the full land after the1967 war.
The Palestinians escalated their uprising against the colonizers. They led the Buraq Revolution in 1929, Al-Qassam Revolution in 1935, and many other uprisings. The Palestine Liberation Organization was formed with Arafat as its leader and has led a continuous struggle since the 1960s, and then the military resistance groups were founded, which led to the first Intifada in 1987. As a result, Israel decided to divide Palestine into two. Israel signed a treaty with the PLO in Oslo in 1992 to make an autonomous zone in the Gaza Strip and West Bank, with the rest kept under its control. The declaration of the Palestinian State in this way discredited the leadership of the PLO and infuriated the resistance groups, which continued resisting.
The sectarian strife, which continued throughout the 1980s and the 1990s in both countries, was punctuated by state terrorism and moments of possible political compromise. The names of many heroes and martyrs during these two decades are engraved in the memory of all humanity. Those martyrs sparked more outrage and riots in both countries. Till this day, the struggle and resistance are growing, taking the lives of thousands of Irish and Palestinian civilians.
Hope and Faith: Shared Themes
Through the recognition of the Irish and Palestinian poetry in the 1980s, 1990s and 2000s, it becomes evident that they share major characteristics in themes and mechanisms of writing despite their geographical remoteness, but at the same time they disagree in some points of their poetical address. Within the thematic limitation, there is a rich material for literature in the present dilemma of the two countries. In the Irish and Palestinian catastrophes are still many situations conducting to the tragic and to the heroic vision of resistance. Among the shared themes are: hope and faith in the ultimate triumph of justice, death of innocent victims and premature but willed death of heroes, the endless uprooting, the degradation of the natives at home and in Diaspora. A large portion of the two nations’ poetry focuses on the documentation of important events. Another part describes the people’s struggle to cope with and live under the country’s tragic political and social circumstances. They both stress their deep-rooted nationalism to keep their cultural identity. But along with these shared recurrent themes, the two nations’ poetry differs in the human element represented in the images of women and children. Here, we shed light on some of these points of similarity and difference.
Poetry: Live Document
Poetry of Resistance is like a history book in keeping the cause in the memory of the nation except that it excels history books in the way it combines facts and creativity. Among the thematic features that the poetry of both nations demonstrates is the historical documentation of major events. From the very beginning, the poets steeped themselves in their nation’s history, guided by their strong national consciousness.
In Ireland, hardly any tragic situation was left without being recorded in a poetic work in the strong Irish tradition of commemorating. The two Bloody Sundays maybe considered the most savage massacres that were committed against the Catholic civilians. The first was in Dublin in 1920 and the second was in Derry in 1972, in which government officials shot into groups of civilians in a sports stadium and in the street.
Many of the Northern Ireland poets wrote in commemoration of the Derry massacre. Seamus Heaney evoked the operation in his poem “Casualty”:
After they shot dead
The thirteen men in Derry.
PARAS THIRTEEN, the walls said,
BOGSIDE NIL. That Wednesday
Everyone held
His breath and trembled.
It was a day of cold
Raw silence, wind-blown
Surplice and soutane:
Rained-on, flower-laden
Coffin after coffin
Seemed to float from the door
Of the packed cathedral
Like blossoms on slow water.
The common funeral
Unrolled its swaddling band,
Lapping, tightening
Till we were braced and bound
Like brothers in a ring.
http://www.ibiblio.org/ipa/heaney/casualty.html
The reaction of the Irish Catholics, as appears in the poem, was not of fright or abstinence from fighting in light of the cost they had to pay for resistance, but it was rather of more determination and more solidarity to face the threat.
In Palestine, the poetry of Hanan Mikha’il `Ashrawy, a Palestinian poetess and politician, is a live document of the daily massacres committed against the civilians during the first Intifada of 1987. She reported the Israeli savagery in a series of unique poems written in English in the first person. In February 1988, Israeli soldiers buried alive four men from the village of Salem near Nablus. `Ashrawy documented this tragedy in a poem “Death by Burial” (1988), reminding us of T.S. Eliot’s “Death by Water”.
This plot is not one
fit for planting
Here the earth is
hard, dry, grating-
Needles of dead leaves
scratch.
I close my eyes, dust
chokes my throat,
I never knew earth could be so heavy,
perhaps were I to
raise one arm
someone would come across
my grave one day, and,
as in late-night horror movies,
see a lifeless hand, and open palm,
fingers half curled…
and scream.
(Jayyusi, p.339)
`Ashrawy reported another horrendous incident in her poem “From the Diary of an Almost-Four-Year-Old” (1988) in which Rasha, four years, and two other baby girls each lost an eye to rubber bullets shot at them in cold blood by Israeli soldiers. She said by Rasha’s mouth:
Tomorrow, the bandages
will come off. I wonder
will I see half an orange,
half an apple, half my
mother’s face
with one remaining eye?
I did not see the bullet
but felt its pain
exploding in my head.
His image did not
vanish, the soldier
with a big gun, unsteady
hands, and a look in
his eyes
I could not understand.
Next month, on my birthday,
I’ll have a brand new glass eye,
maybe things will look round
and fat in the middle
They made the world look strange.
I hear a nine-month-old
has lost an eye,
I’m old enough, almost four,
I’ve seen enough of life,
But she’s just a baby
who didn’t know any better.
(Jayyussi, p.340-41)
The irony of this poem is that it admits the Intifada children to have lost their innocence. The girl considers herself mature compared to the little baby. The image of the world in her glass eye with its distorted proportions symbolizes the real world that the Palestinians see even with their natural eyes.
The betrayal of leaders was also another important event to be recorded. In Ireland, on 1 September 1994, a cease-fire was announced that was documented in the following poem by Michael Longley, “Ceasefire”, which was published two days after the declaration. In this poem he describes the situation at an allegorical level in terms of the Greek myth in which Achilles kills Hector, the son of the Trojan king Priam. Priam goes to Achilles and shakes hands with him in order to take the dead body of his son. Such an odd meeting of two historical enemies for the sake of the dead son’s body inspired Longley to describe the cease-fire:
Taking Hector’s corpse into his own hands Achilles
Made sure it was washed and, for the old king’s sake,
Laid out in uniform, ready for Priam to carry
Wrapped like a present home to Troy at daybreak.
‘I get down on my knees and do what must be done
And kiss Achilles’ hand, the killer of my son.’
http://www.wfu.edu/wfupress/longleypoetry.htm
The last two lines said by Priam reflect the bizarreness and humiliation of the situation. The image of the son’s body wrapped like a present to be given to the father depicts the condescending nature of the occupier while signing a peace treaty with the defeated and the way he tries to look “nice” regardless of what he did.
The situation in Palestine was not dissimilar. The Oslo Treaty between Israel and the PLO turned the other resisting groups against the PLO both politically and poetically. Abdul Aziz Al Rantisi, a Hamas leader and poet, wrote “A Poem of Challenge” in May 2002:
Wake your conscience up if you still have any!
Trading with the homeland is a deadly sin.
See the children of Gaza; it’s they
who announced the birth of dawn
from the womb of darkness.
Where are the slogans that you say,
which have lead thousands of us away?
…………………………………..
God grants victory to the pious alone
And never to those who’ve gone astray.
http://www.palestine-info.info/arabic/poems/altahdi.htm
In a more violent criticism, another poet, Khamees, accuses the PLO leadership of treason by cooperating with the enemy to arrest the resisters, based on the claim of fighting terrorism. In his poem “Grant Us Safety”, he says:
We are but flowers, take our fragrance.
We are but a star, take our brightness.
We are but fire, take our flame.
We are but lightning, take our light.
Take the souls from our souls.
http://www.palestine-info.info/arabic/palestoday/readers/ recentpoem/kames/bar.html
Elegies: Transcending Self-pity to Proud Spirit
Related to the commemoration of important historical events is the commemoration of the death of the dear friends, family members and heroes who were killed in violence. An elegy is a description of the virtues of the dead and his bravery and then a long lamentation over his death. Elegy is a major theme in the poetry of the two nations.
In Ireland, elegies are major a part of the literary heritage. History provides the poets with a list of great heroes who took up the cause of the Gaels against the foreigners. Irish elegies are as old as the beginning of the crisis. Elegies in Ireland differ from any other in the world in that they take an organized form, as they must be recited in formal processions in Belfast, which normally end up with more violence. The following poem by Ireland’s great poet Seamus Heaney mourns his Catholic best friend who was killed in a blast. This friend deliberately disobeyed the IRA curfew orders during the “Troubles” and went out and met his end. Thus Heaney wrote this moving lament, “Casualty”:
He was blown to bits
Out drinking in a curfew
Others obeyed, three nights
But he would not be held
At home by his own crowd
Whatever threats were phoned,
Whatever black flags waved.
I see him as he turned
In that bombed offending place,
Remorse fused with terror
In his still knowable face,
His cornered outfaced stare
Blinding in the flash.
……………………
I missed his funeral,
Those quiet walkers
And sideways talkers
Shoaling out of his lane
To the respectable
Purring of the hearse...
They move in equal pace
With the habitual
Slow consolation
Of a dawdling engine,
The line lifted, hand
Over fist, cold sunshine
On the water, the land
Banked under fog: that morning
I was taken in his boat,
The screw purling, turning
Indolent fathoms white,
I tasted freedom with him.
(http://www.ibiblio.org/ipa/heaney/casualty.html
This is only part of the long elegy. In the missing part, the poet enthusiastically mentions the details of their strong friendship and his need of him, together with the small details of the murder in order to show the enormity of the crime.
Irish verse often transcends self-pity to proclaim a proud spirit of heroic action despite the sadness of defeat. Although the language and the mood is in general that of anger, in some parts of this poetry, it expresses a great hope in a better future.
Elegy also exists on a large scale in Arabic poetry and has its place in its long tradition. A major part of Intifada poetry is dedicated to the celebration of the dead heroes. The following lines are just one example of tens of poems written in mourning of the thousands of martyrs. They celebrate the death of the great Palestinian martyr Yahia `Ayyash, who started the self bombing and invented the explosive belts. Muhammad Abdul Raziq Abu Mustafa wrote this poem, “The Free Forehead Has Disappeared”:
We have neither expected to mourn you
nor have we imagined that you won't come back.
Our girls have decorated for you
the windows with flowers,
and your dear are singing their song for you
so that your eyes might bring
the morning to their eyes.
http://www.palestine-info.info/arabic/poems/yahya%20ayash/b3.htm
But in some parts of the elegies, the reader can easily trace some glimmers of light and hope in the tone of the poems despite the predominant atmosphere of death and defeat. Words like “flowers”, “singing” and “morning” create this hope.
Diaspora: Our Land within Us
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| Our country is a flesh of our flesh, a bone of our bone |
Diaspora is a remarkable experience in the history of the two occupied nations. Throughout the history of Ireland, under the successive civil wars and as a result of the discrimination against the Catholics, there have been many exoduses that led the people all over the world. The biggest exodus that Ireland witnessed came as a result of the major famine
that decimated the Irish population in the mid-nineteenth century. “The Irish diaspora is now integrated into countless nations across the globe” (Cronin, p. xi).
As for the Palestinians, they experienced two mass exoduses in 1948 and 1967.
Exile is a state of estrangement. It means not only to leave one’s home but also to lose one’s sense of this home. One may become exiled in one’s very home under the pressure of the occupier. This sense of home exile is expressed in Durcan’s poem “Ireland 1977”:
‘I’ve become so lonely, I could die’— he writes,
The native who is an exile in his native land:
‘Do you hear me whispering to you across the Golden Vale?
Do you hear me bawling to you across the hearthrug?”
(Longley, p. 220)
Durcan’s lines reveal him to be obsessed with territorial concerns, as if he is talking to a deaf country.
In an emotional poem, the Irish Belfast poet Kennelly admits this feeling of home exile, but he does not get overcome by it. He says that the struggle against the occupier spares him the feeling of estrangement.
I belong to that silent majority
Who do not write letters to The Irish Times
But I swear to Christ I felt like writing
This morning when, on getting the 16A
And lurching through the city
Of Parnell, O’Connell, Emmet, Grattan,
I saw, scrawled on a wall in red lettering,
BOOM WENT MOUNTBATTEN
Somewhere beyond
(Longley, p. 220)
Lord Mountbatten here symbolizes the colonizing force that he is struggling against.
In the Palestinian poetry, Mahmoud Darwich reflects on the meaning of home and exile and stresses his confusion with the meaning of home saying, “They didn’t just occupy the land and its activities alone: they occupied the inner mind and temperament and the bond between you and your home, so that you begin to question the very meaning of this home.” (Darwich, p. 69)
The poetry of both nations that was written by exiled poets is rather different from that written by those who remained in the homeland, as it is marked by a profound sense of alienation, nostalgia and dreaming of the homeland from which they where expelled.
An interesting fact of the Diaspora poetry is that it expresses very little attachment to the countries in which the poets have settled and that they never get “reterritorialized”. In the Palestinian exile poetry, for example, there is no mention of Cairo, Damascus, Beirut or any other city to which they have moved but only a yearning for home.
The following lines by Maryam Al Qasim Al Sa`d, who lives in America, reflects this idea in her poem “Vision”, published in 1991:
Years pass and
the waiting continues
Unwavering faith remains
a halo illuminating generations
The vision stays alive.
(Jayyusi, p.46)
Expressions like “unwavering faith” and “stays alive” validate this established yearning for home that never dies in their souls.
Maryam Al Qasim’s poem echoes one of Mahmoud Darwich’s earlier poems:
Needs no reminding: Mount Carmel is within us
On our eyelashes Galilee’s dust is blown
Do not say “I would run to her like a river!”
Our country is a flesh of our flesh, a bone of our bone.
(Jayyusi, p. 49)
Women and Children: Different Poetic Address
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| The poetry of the two nations differ in their handling of the theme of women in the struggle |
The poetry of the two nations differ in their handling of the theme of the position of women in the struggle. The image of the Irish woman is vague if not negative in Irish poetry. Margaret Curtain expresses this difficulty as “The historiography of women’s history in Ireland is largely a story of neglect with only a small number of pioneers quietly insisting on establishing the significance of the subject” (Curtain, p. 1).
The Irish woman is always depicted as an impediment to the resisting spirit with her irresponsible behavior. Paul Muldoon, in his
long poem “The More a Man Has the More a Man Wants” (1983), describes an awful incident in which some Catholic girls were tarred and feathered in 1970 for hanging around with English soldiers:
Someone on their way to early Mass
Will find her hog-tied
to the chapel gates-
………………….
Her lovely head has been chopped
and changed.
For Beatrice, whose fathers
knew Louis Quinz,
to have come to this, her perruqe
of tar and feathers.
(Longley, p. 196)
Muldoon wrote another poem, “Bran”, describing the miserable social condition of the Irish people. Bran is a dog that is disturbed on seeing the miserable view of the Irish. The poet depicts the image of women in an indecent manner:
While he looks into the eyes of women
Who have let themselves go,
While they sigh and they moan
For pure joy.
(Muldoon, p. 12)
This distorted image of women prevailing in Irish poetry contradicts the real role that was presented in the historical background, as they were reported to have been among the martyrs of the two Bloody Sundays while demonstrating. The problem, therefore, is not in the absence of their role as much as in the absence of their voices. This marginalization of women in the context of the Irish struggle was admitted by Clair Wills: “On the one hand there is, in overt opposition to the perceived exclusion of women’s concerns, and women’s narratives in much contemporary poetry, a strategy of representation—of giving voice.” (Wills, p. 47)
In contrast, the image of the Palestinian woman and her heroic role is engraved in Palestinian poetry. Since the beginning of the Palestinian struggle, women have been in the foreground as resisters, by demonstrating, providing relief services to families of detainees, transporting food to fighting men, establishing charitable organizations, writing literature and—most important of all, as happened in the second Intifada—participating in armed operations. Wafa’ Idris and Dareen abu `Eisha are but a few examples. Another role, which is not less important, is the reproductive role for the survival of the threatened Palestinian race and a sort of demographic triumph. These roles were precisely depicted by Hanan `Ashrawy in her poem “Women and Things”:
Women make things grow:
Sometimes like crocus
surprised by rain, emerging fully
grown from the belly of the earth:
Others like the palm tree with
its promise postponed
rising in a slow
deliberate
spiral to the sky
(Jayyusi, 336)
Ibrahim Nasralla also celebrated the great role of women in his poem “A Woman”:
Tired man what can you say
to a woman who perfects her presence,
and is adept at arranging the world
in the space of your perpetual ruin.
What’s to be said
to this woman, this child,
as she spontaneously fashions new flights of joy
new birth-rites
and secret paths for the winds,
a variable green for the trees
and what’s to be said to two intimate braids
which have delivered her to the succulence of fruit,
the scent of Jasmine?
(Jayyusi, 240)
It is notable that in these poems, a series of symbols and images are used to refer to women and their roles. These images and symbols are so deep-rooted in Arabic and Palestinian culture that it is sometimes difficult for non-Arabs to understand. In these poems there is a recurrent mention of elements of the land. “Predominant in the poetry is the use of the images which are connected with the land. By incorporating earthly symbols the poet demonstrates the Palestinian rootedness in the land. Reference to flowers, (jasmine, lilac and lily) and trees (the olive, orange and almond) abound. When these images are used, concrete and graphic images of the land of Palestine surface in the readers’ minds” (Jacobson, p. 105).
The Palestinian woman is identified with the land itself. Notice also the repeated reference to her important reproductive role by mentioning the plants coming out of the land in a wonderful image of birth. The wind in Nasrallah’s poem refers to women’s role in resistance and struggle, “Visions of storms, thunder and lightening, have dual meaning and may stand for forces of evil or defiance and revolution depending on the context” (Jacobson, p. 106). I think that the second meaning is more suitable to this context of the Palestinian woman. The rain in `Ashrawy’s poem is another symbol of fertility and life-giving power.
The Child: A Contrasting Image in the Two Experiences
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| Irish resistance poetry deals with childhood as an embodiment of weakness
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Another point of departure in the poetry of the two nations is the image of the child. Irish resistance poetry deals with childhood as an embodiment of weakness and helplessness, which is normal enough. It is the child of the Intifada who is leading an extraordinary and unprecedented experience!
In the Irish poetry, the child is portrayed as a helpless victim of war circumstances and is used to draw the sympathy for the case, as in the following lines by John Hewitt:
What word of yours can…
Give life and purpose to a workless lad?
the hearthless house? Restore the strength they had
to the smashed fingers?
(Matthews, pp. 62-63)
In the previously quoted poem “Bran”, by Muldoon, the dog is disturbed to see the state of the young boys:
He weeps for the boy on that small farm
Who takes an oatmeal labrador
In his farm
Who knows all there is of rapture.
(Muldoon, p. 12)
The Palestinian poetry gives an extremely different image of the child. The hope is always in the children, as it is the first time that a revolt of such a magnitude is led by children. In the following poem, “A Vision” by Mureed Barghouthy, this hope strongly prevails:
O lifetime of ours, go on! Parents!
Give our children plenty of milk
Prepare what light for them you can,
save for them every match stick
Keep the lanterns, and the oil
For the night means to inhabit for a long time
(Jayyusi, p. 131)
The optimistic mood is reflected in the vocabulary. The white milk is a symbol of life and growth. Light, match stick and lantern are symbols of hope, enlightenment and clear vision of the future. Children have a unique connotation that is only found in the Intifada poetry, one of the power of resistance and the continuity of struggle, not innocence and weakness as the established universal connotation of the word.
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Children have a unique connotation that is only found in the Intifada poetry
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The optimistic mood and the hope in children is stronger in the following poem by ‘Abdur-Rahman ‘Awawdah, “Determination in our young children”:
Determination in our young children.
Love, in our hearts, is commitment
The bird above our heads is singing
The people lay open their committed chests
The land opens its arms and paths
In the sun’s glance there is integrity
………………………………..
Embrace your little ones for they
are the symbol of immortality and they
are the lions.
(Jacobson, p. 50)
Again, the selection of vocabulary that is highly suggestive adds to the image of a hopeful future despite the repressive present. The singing of the birds, the new avenues, the sun and love all suggest optimism.
Conclusion
The above is but an abridgement of a more detailed study of the resistance poetry of Ireland and Palestine. Though distant, the two nations have had similar histories, and their resistance poetry reflects many similar themes as well as some differences.
Sources:
- Cronin, M. (2001). The History of Ireland. St. Martin’s Press.
- Curtain, M. (1991). Women in Early Modern Ireland. Edinburgh: Edinburgh University Press.
- Darwich, M. (1978). Yawmiyyat al-Huzn al’Adi (2nd ed.). Beirut: Dar al Awdah.
- Elmessiri, A.M. (1982). The Palestinian Wedding: A Bilingual Anthology of Contemporary Palestinian Resistance Poetry. Three Continents.
- Jacobson, C. L. (1991). Intifada Poetry: The first six months of the Palestinian Uprising. U.M.I.
- Jayyusi, S.K., ed. (1992) Anthology of Modern Palestinian Literature. New York: Colombia University Press.
- Longley, E. (1995). The Living Stream: Literature and Revisionism in Ireland. Newcastle-upon-Tyne: Bloodaxe Books.
- Matthews, S. (1997). Irish Poetry: Politics, History, Negotiation. Basing Stoke: MacMillan.
- Muldoon, P. (1980) “Bran” in Why Brownlee Left. London: Faber and Faber.
- Wills, C. (1993). Improprieties: Politics and Sexuality in Northern Irish Poetry. Oxford: Clarendon Press.
- http://www.palestine-nfo.info/arabic/poems/yahyaayash/b3.htm
- http://www.ibiblio.org/ipa/heaney/casualty.html
- http://www.palestine-info.info/arabic/poems/kaledsaaed.htm
- http://www.palestine-info.info/arabic/ palestoday/readers/recentpoem/zahdh.htm
- http://www.wfu.edu/wfupress/longleypoetry.htm
- http://www.palestine-info.info/arabic/poems/altahdi.htm
- http://www.palestine-info.info/arabic/palestoday/readers/ recentpoem/kames/bar.html
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