1
25
7
-
https://lebanesestudies.omeka.chass.ncsu.edu/files/original/75b131feccca7a09530bbb16d5490510.jpg
c8c9cda5c147800b4cae6ed4f7542776
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Creighton Family Papers
Publisher
An entity responsible for making the resource available
Moise A. Khayrallah Center for Lebanese Diaspora Studies
Rights
Information about rights held in and over the resource
The donor retains full ownership of any copyright and rights currently controlled. Nonexclusive right to authorize uses of these materials for non-commercial research, scholarly, or other educational purposes are granted to Khayrallah Center pursuant to U.S. Copyright Law. Usage of the materials for these purposes must be fully credited with the source. The user assumes full responsibility for any use of the materials.
These materials are digital copies of an original resource held by another institution. The KCLDS Archive often works with other institutions to make digital materials available online to the public. KCLDS is not able to grant permission to use or reproduce these materials. The KCLDS Archive strongly encourages users to contact the holding institution for permission to use or reproduce materials from their holdings.
Relation
A related resource
<a href="https://archives.yale.edu/repositories/4/resources/135" target="_blank" rel="noreferrer noopener"><span>Roy and Clara Creighton Papers</span></a>
Subject
The topic of the resource
Lebanon
Photographs
Source
A related resource from which the described resource is derived
Phyllis Creighton Danby
Date
A point or period of time associated with an event in the lifecycle of the resource
1927-1929
Description
An account of the resource
<h4>Biographical/Historical Note</h4>
<p>Clara Elise Linn was born in Cambridge, Massachusetts in 1892. In her youth, Clara was involved the Christian Endeavor and the Student Volunteer Movement, two Christian missionary organizations. Clara worked as a secretary for Houghton Mifflin and then for the Ludlow Manufacturing Company in Boston. In 1913, Clara met Roy Creighton through the Christian Endeavor program.</p>
<p>Roy Creighton was born in Arizona in 1889. When he met Clara he was studying architecture at the Harvard Graduate School of Design. At the beginning of 1916, Roy left Harvard to join the YMCA, which stationed him in China. The same year, Clara entered the School of Pedagogy at the Hartford Theological Seminary in Hartford, Connecticut, where she met Ruth Hahn, a missionary nurse who had worked in China and was on furlough in Connecticut. In 1916, Ruth and Clara traveled to China to join Roy. Clara and Roy got married in Kuling, China in 1916.</p>
<p>The Creightons served as missionaries for the first half of the twentieth century. Roy's experience in architecture qualified him to become a “missionary architect,” trainhing and supervising local craftsmen in Western construction methods in order to erect YMCA buildings, missions, and schools. The Creightons lived and worked primarily in China from 1915 to 1949. However, after a furlough in the United States throughout the 1920s, the Creightons were stationed in Beirut, Lebanon around 1928. The family lived and worked in Lebanon, where Roy helped construct new buildings at the American University of Beirut, for two years. The Creightons had three children that survived to adulthood: Linn, Roger, and Phyllis. Phyllis Creighton Danby married Dr. Tony Danby, a professor at North Carolina State University. </p>
<h4>Scope/Content Note</h4>
<p>This collection contains photographs taken by American missionaries Clara Elise Linn and Roy Creighton in the first half of the twentieth century. The collection documents the lives of the Creighton family while they were stationed in Beirut, Lebanon around 1928, shortly after the country's establishment as an independent nation. The images in this collection depict the family at the various historical and cultural sites that they visited during vacation. In addition to documenting the family life of Clara and Roy Creighton and their three children, these images depict the landscape and culture of Lebanon during this period of transformation. Images include Roy Creighton working with Lebanese builders to construct the American University of Beirut.</p>
<p>To access the original materials contact the Gregg Museum of Art & Design.</p>
Contributor
An entity responsible for making contributions to the resource
Processed by Khayrallah Program staff. Collection Guide content contributed by Claire A. Kempa and updated by Allison Hall, 2023 December.
Language
A language of the resource
English
Identifier
An unambiguous reference to the resource within a given context
KC 0021
Access Rights
Information about who can access the resource or an indication of its security status. Access Rights may include information regarding access or restrictions based on privacy, security, or other policies.
This digital material is provided here for non-commercial research, scholarly, or other educational purposes pursuant to U.S. Copyright Law.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Identifier
An unambiguous reference to the resource within a given context
kc0021_024
Title
A name given to the resource
Creighton Children in Kew Gardens
Subject
The topic of the resource
Photographs
Description
An account of the resource
A photo of Linn, Roger, and Phyllis Creighton on a path in the Royal Botanic Gardens in London.
Source
A related resource from which the described resource is derived
Phyllis Creighton Danby
Publisher
An entity responsible for making the resource available
Moise A. Khayrallah Center for Lebanese Diaspora Studies
Date
A point or period of time associated with an event in the lifecycle of the resource
circa 1928
Rights
Information about rights held in and over the resource
The donor retains full ownership of any copyright and rights currently controlled. Nonexclusive right to authorize uses of these materials for non-commercial research, scholarly, or other educational purposes are granted to Khayrallah Center pursuant to U.S. Copyright Law. Usage of the materials for these purposes must be fully credited with the source. The user assumes full responsibility for any use of the materials.
Format
The file format, physical medium, or dimensions of the resource
Image/jpg
Type
The nature or genre of the resource
Image
1920s
England
Families
Gardens
-
https://lebanesestudies.omeka.chass.ncsu.edu/files/original/69e358fc76f2e494975f1c15b839377d.jpg
82179fcdf991bf206bd6a6d92e12ec8f
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Creighton Family Papers
Publisher
An entity responsible for making the resource available
Moise A. Khayrallah Center for Lebanese Diaspora Studies
Rights
Information about rights held in and over the resource
The donor retains full ownership of any copyright and rights currently controlled. Nonexclusive right to authorize uses of these materials for non-commercial research, scholarly, or other educational purposes are granted to Khayrallah Center pursuant to U.S. Copyright Law. Usage of the materials for these purposes must be fully credited with the source. The user assumes full responsibility for any use of the materials.
These materials are digital copies of an original resource held by another institution. The KCLDS Archive often works with other institutions to make digital materials available online to the public. KCLDS is not able to grant permission to use or reproduce these materials. The KCLDS Archive strongly encourages users to contact the holding institution for permission to use or reproduce materials from their holdings.
Relation
A related resource
<a href="https://archives.yale.edu/repositories/4/resources/135" target="_blank" rel="noreferrer noopener"><span>Roy and Clara Creighton Papers</span></a>
Subject
The topic of the resource
Lebanon
Photographs
Source
A related resource from which the described resource is derived
Phyllis Creighton Danby
Date
A point or period of time associated with an event in the lifecycle of the resource
1927-1929
Description
An account of the resource
<h4>Biographical/Historical Note</h4>
<p>Clara Elise Linn was born in Cambridge, Massachusetts in 1892. In her youth, Clara was involved the Christian Endeavor and the Student Volunteer Movement, two Christian missionary organizations. Clara worked as a secretary for Houghton Mifflin and then for the Ludlow Manufacturing Company in Boston. In 1913, Clara met Roy Creighton through the Christian Endeavor program.</p>
<p>Roy Creighton was born in Arizona in 1889. When he met Clara he was studying architecture at the Harvard Graduate School of Design. At the beginning of 1916, Roy left Harvard to join the YMCA, which stationed him in China. The same year, Clara entered the School of Pedagogy at the Hartford Theological Seminary in Hartford, Connecticut, where she met Ruth Hahn, a missionary nurse who had worked in China and was on furlough in Connecticut. In 1916, Ruth and Clara traveled to China to join Roy. Clara and Roy got married in Kuling, China in 1916.</p>
<p>The Creightons served as missionaries for the first half of the twentieth century. Roy's experience in architecture qualified him to become a “missionary architect,” trainhing and supervising local craftsmen in Western construction methods in order to erect YMCA buildings, missions, and schools. The Creightons lived and worked primarily in China from 1915 to 1949. However, after a furlough in the United States throughout the 1920s, the Creightons were stationed in Beirut, Lebanon around 1928. The family lived and worked in Lebanon, where Roy helped construct new buildings at the American University of Beirut, for two years. The Creightons had three children that survived to adulthood: Linn, Roger, and Phyllis. Phyllis Creighton Danby married Dr. Tony Danby, a professor at North Carolina State University. </p>
<h4>Scope/Content Note</h4>
<p>This collection contains photographs taken by American missionaries Clara Elise Linn and Roy Creighton in the first half of the twentieth century. The collection documents the lives of the Creighton family while they were stationed in Beirut, Lebanon around 1928, shortly after the country's establishment as an independent nation. The images in this collection depict the family at the various historical and cultural sites that they visited during vacation. In addition to documenting the family life of Clara and Roy Creighton and their three children, these images depict the landscape and culture of Lebanon during this period of transformation. Images include Roy Creighton working with Lebanese builders to construct the American University of Beirut.</p>
<p>To access the original materials contact the Gregg Museum of Art & Design.</p>
Contributor
An entity responsible for making contributions to the resource
Processed by Khayrallah Program staff. Collection Guide content contributed by Claire A. Kempa and updated by Allison Hall, 2023 December.
Language
A language of the resource
English
Identifier
An unambiguous reference to the resource within a given context
KC 0021
Access Rights
Information about who can access the resource or an indication of its security status. Access Rights may include information regarding access or restrictions based on privacy, security, or other policies.
This digital material is provided here for non-commercial research, scholarly, or other educational purposes pursuant to U.S. Copyright Law.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Identifier
An unambiguous reference to the resource within a given context
kc0021_023
Title
A name given to the resource
Kew Gardens Pagoda
Subject
The topic of the resource
Photographs
Description
An account of the resource
A photo of Phyllis Creighton and a man who is probably her father (Roy Lamont Creighton) in front of the Pagoda at Kew Gardens, London. The film was accidentally pre-exposed to the photo of the Pagoda when the photo of the children (visible at the top of the image) was taken.
Source
A related resource from which the described resource is derived
Phyllis Creighton Danby
Publisher
An entity responsible for making the resource available
Moise A. Khayrallah Center for Lebanese Diaspora Studies
Date
A point or period of time associated with an event in the lifecycle of the resource
circa 1928
Rights
Information about rights held in and over the resource
The donor retains full ownership of any copyright and rights currently controlled. Nonexclusive right to authorize uses of these materials for non-commercial research, scholarly, or other educational purposes are granted to Khayrallah Center pursuant to U.S. Copyright Law. Usage of the materials for these purposes must be fully credited with the source. The user assumes full responsibility for any use of the materials.
Format
The file format, physical medium, or dimensions of the resource
Image/jpg
Type
The nature or genre of the resource
Image
1920s
England
Gardens
-
https://lebanesestudies.omeka.chass.ncsu.edu/files/original/d425542cd2eb4d86c021eb005de74aa2.jpg
285e38eca99784bacd10775b171d8f3c
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Creighton Family Papers
Publisher
An entity responsible for making the resource available
Moise A. Khayrallah Center for Lebanese Diaspora Studies
Rights
Information about rights held in and over the resource
The donor retains full ownership of any copyright and rights currently controlled. Nonexclusive right to authorize uses of these materials for non-commercial research, scholarly, or other educational purposes are granted to Khayrallah Center pursuant to U.S. Copyright Law. Usage of the materials for these purposes must be fully credited with the source. The user assumes full responsibility for any use of the materials.
These materials are digital copies of an original resource held by another institution. The KCLDS Archive often works with other institutions to make digital materials available online to the public. KCLDS is not able to grant permission to use or reproduce these materials. The KCLDS Archive strongly encourages users to contact the holding institution for permission to use or reproduce materials from their holdings.
Relation
A related resource
<a href="https://archives.yale.edu/repositories/4/resources/135" target="_blank" rel="noreferrer noopener"><span>Roy and Clara Creighton Papers</span></a>
Subject
The topic of the resource
Lebanon
Photographs
Source
A related resource from which the described resource is derived
Phyllis Creighton Danby
Date
A point or period of time associated with an event in the lifecycle of the resource
1927-1929
Description
An account of the resource
<h4>Biographical/Historical Note</h4>
<p>Clara Elise Linn was born in Cambridge, Massachusetts in 1892. In her youth, Clara was involved the Christian Endeavor and the Student Volunteer Movement, two Christian missionary organizations. Clara worked as a secretary for Houghton Mifflin and then for the Ludlow Manufacturing Company in Boston. In 1913, Clara met Roy Creighton through the Christian Endeavor program.</p>
<p>Roy Creighton was born in Arizona in 1889. When he met Clara he was studying architecture at the Harvard Graduate School of Design. At the beginning of 1916, Roy left Harvard to join the YMCA, which stationed him in China. The same year, Clara entered the School of Pedagogy at the Hartford Theological Seminary in Hartford, Connecticut, where she met Ruth Hahn, a missionary nurse who had worked in China and was on furlough in Connecticut. In 1916, Ruth and Clara traveled to China to join Roy. Clara and Roy got married in Kuling, China in 1916.</p>
<p>The Creightons served as missionaries for the first half of the twentieth century. Roy's experience in architecture qualified him to become a “missionary architect,” trainhing and supervising local craftsmen in Western construction methods in order to erect YMCA buildings, missions, and schools. The Creightons lived and worked primarily in China from 1915 to 1949. However, after a furlough in the United States throughout the 1920s, the Creightons were stationed in Beirut, Lebanon around 1928. The family lived and worked in Lebanon, where Roy helped construct new buildings at the American University of Beirut, for two years. The Creightons had three children that survived to adulthood: Linn, Roger, and Phyllis. Phyllis Creighton Danby married Dr. Tony Danby, a professor at North Carolina State University. </p>
<h4>Scope/Content Note</h4>
<p>This collection contains photographs taken by American missionaries Clara Elise Linn and Roy Creighton in the first half of the twentieth century. The collection documents the lives of the Creighton family while they were stationed in Beirut, Lebanon around 1928, shortly after the country's establishment as an independent nation. The images in this collection depict the family at the various historical and cultural sites that they visited during vacation. In addition to documenting the family life of Clara and Roy Creighton and their three children, these images depict the landscape and culture of Lebanon during this period of transformation. Images include Roy Creighton working with Lebanese builders to construct the American University of Beirut.</p>
<p>To access the original materials contact the Gregg Museum of Art & Design.</p>
Contributor
An entity responsible for making contributions to the resource
Processed by Khayrallah Program staff. Collection Guide content contributed by Claire A. Kempa and updated by Allison Hall, 2023 December.
Language
A language of the resource
English
Identifier
An unambiguous reference to the resource within a given context
KC 0021
Access Rights
Information about who can access the resource or an indication of its security status. Access Rights may include information regarding access or restrictions based on privacy, security, or other policies.
This digital material is provided here for non-commercial research, scholarly, or other educational purposes pursuant to U.S. Copyright Law.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Identifier
An unambiguous reference to the resource within a given context
kc0021_022
Title
A name given to the resource
Creighton Children in Kew Gardens 2
Subject
The topic of the resource
Photographs
Description
An account of the resource
A photo of Phyllis Creighton in Kew Gardens, London. Her brother Linn Creighton stands in the background.
Source
A related resource from which the described resource is derived
Phyllis Creighton Danby
Publisher
An entity responsible for making the resource available
Moise A. Khayrallah Center for Lebanese Diaspora Studies
Date
A point or period of time associated with an event in the lifecycle of the resource
circa 1928
Rights
Information about rights held in and over the resource
The donor retains full ownership of any copyright and rights currently controlled. Nonexclusive right to authorize uses of these materials for non-commercial research, scholarly, or other educational purposes are granted to Khayrallah Center pursuant to U.S. Copyright Law. Usage of the materials for these purposes must be fully credited with the source. The user assumes full responsibility for any use of the materials.
Format
The file format, physical medium, or dimensions of the resource
Image/jpg
Type
The nature or genre of the resource
Image
1920s
England
Gardens
-
https://lebanesestudies.omeka.chass.ncsu.edu/files/original/87215912e4d53e897a2463849fe69e19.jpg
e83ec624cdc51cb2aa7accd11659cd79
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Creighton Family Papers
Publisher
An entity responsible for making the resource available
Moise A. Khayrallah Center for Lebanese Diaspora Studies
Rights
Information about rights held in and over the resource
The donor retains full ownership of any copyright and rights currently controlled. Nonexclusive right to authorize uses of these materials for non-commercial research, scholarly, or other educational purposes are granted to Khayrallah Center pursuant to U.S. Copyright Law. Usage of the materials for these purposes must be fully credited with the source. The user assumes full responsibility for any use of the materials.
These materials are digital copies of an original resource held by another institution. The KCLDS Archive often works with other institutions to make digital materials available online to the public. KCLDS is not able to grant permission to use or reproduce these materials. The KCLDS Archive strongly encourages users to contact the holding institution for permission to use or reproduce materials from their holdings.
Relation
A related resource
<a href="https://archives.yale.edu/repositories/4/resources/135" target="_blank" rel="noreferrer noopener"><span>Roy and Clara Creighton Papers</span></a>
Subject
The topic of the resource
Lebanon
Photographs
Source
A related resource from which the described resource is derived
Phyllis Creighton Danby
Date
A point or period of time associated with an event in the lifecycle of the resource
1927-1929
Description
An account of the resource
<h4>Biographical/Historical Note</h4>
<p>Clara Elise Linn was born in Cambridge, Massachusetts in 1892. In her youth, Clara was involved the Christian Endeavor and the Student Volunteer Movement, two Christian missionary organizations. Clara worked as a secretary for Houghton Mifflin and then for the Ludlow Manufacturing Company in Boston. In 1913, Clara met Roy Creighton through the Christian Endeavor program.</p>
<p>Roy Creighton was born in Arizona in 1889. When he met Clara he was studying architecture at the Harvard Graduate School of Design. At the beginning of 1916, Roy left Harvard to join the YMCA, which stationed him in China. The same year, Clara entered the School of Pedagogy at the Hartford Theological Seminary in Hartford, Connecticut, where she met Ruth Hahn, a missionary nurse who had worked in China and was on furlough in Connecticut. In 1916, Ruth and Clara traveled to China to join Roy. Clara and Roy got married in Kuling, China in 1916.</p>
<p>The Creightons served as missionaries for the first half of the twentieth century. Roy's experience in architecture qualified him to become a “missionary architect,” trainhing and supervising local craftsmen in Western construction methods in order to erect YMCA buildings, missions, and schools. The Creightons lived and worked primarily in China from 1915 to 1949. However, after a furlough in the United States throughout the 1920s, the Creightons were stationed in Beirut, Lebanon around 1928. The family lived and worked in Lebanon, where Roy helped construct new buildings at the American University of Beirut, for two years. The Creightons had three children that survived to adulthood: Linn, Roger, and Phyllis. Phyllis Creighton Danby married Dr. Tony Danby, a professor at North Carolina State University. </p>
<h4>Scope/Content Note</h4>
<p>This collection contains photographs taken by American missionaries Clara Elise Linn and Roy Creighton in the first half of the twentieth century. The collection documents the lives of the Creighton family while they were stationed in Beirut, Lebanon around 1928, shortly after the country's establishment as an independent nation. The images in this collection depict the family at the various historical and cultural sites that they visited during vacation. In addition to documenting the family life of Clara and Roy Creighton and their three children, these images depict the landscape and culture of Lebanon during this period of transformation. Images include Roy Creighton working with Lebanese builders to construct the American University of Beirut.</p>
<p>To access the original materials contact the Gregg Museum of Art & Design.</p>
Contributor
An entity responsible for making contributions to the resource
Processed by Khayrallah Program staff. Collection Guide content contributed by Claire A. Kempa and updated by Allison Hall, 2023 December.
Language
A language of the resource
English
Identifier
An unambiguous reference to the resource within a given context
KC 0021
Access Rights
Information about who can access the resource or an indication of its security status. Access Rights may include information regarding access or restrictions based on privacy, security, or other policies.
This digital material is provided here for non-commercial research, scholarly, or other educational purposes pursuant to U.S. Copyright Law.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Identifier
An unambiguous reference to the resource within a given context
kc0021_021
Title
A name given to the resource
Creighton Children in Richmond Park 2
Subject
The topic of the resource
Photographs
Description
An account of the resource
A photo of Phyllis, Roger, and Linn Creighton posing in Richmond Park, London.
Source
A related resource from which the described resource is derived
Phyllis Creighton Danby
Publisher
An entity responsible for making the resource available
Moise A. Khayrallah Center for Lebanese Diaspora Studies
Date
A point or period of time associated with an event in the lifecycle of the resource
circa 1928
Rights
Information about rights held in and over the resource
The donor retains full ownership of any copyright and rights currently controlled. Nonexclusive right to authorize uses of these materials for non-commercial research, scholarly, or other educational purposes are granted to Khayrallah Center pursuant to U.S. Copyright Law. Usage of the materials for these purposes must be fully credited with the source. The user assumes full responsibility for any use of the materials.
Format
The file format, physical medium, or dimensions of the resource
Image/jpg
Type
The nature or genre of the resource
Image
1920s
England
Families
-
https://lebanesestudies.omeka.chass.ncsu.edu/files/original/55cf3055981b8b8bbd52bc36b150c6f1.jpg
16f4a311b74642bee3a847997dc4e4fa
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Creighton Family Papers
Publisher
An entity responsible for making the resource available
Moise A. Khayrallah Center for Lebanese Diaspora Studies
Rights
Information about rights held in and over the resource
The donor retains full ownership of any copyright and rights currently controlled. Nonexclusive right to authorize uses of these materials for non-commercial research, scholarly, or other educational purposes are granted to Khayrallah Center pursuant to U.S. Copyright Law. Usage of the materials for these purposes must be fully credited with the source. The user assumes full responsibility for any use of the materials.
These materials are digital copies of an original resource held by another institution. The KCLDS Archive often works with other institutions to make digital materials available online to the public. KCLDS is not able to grant permission to use or reproduce these materials. The KCLDS Archive strongly encourages users to contact the holding institution for permission to use or reproduce materials from their holdings.
Relation
A related resource
<a href="https://archives.yale.edu/repositories/4/resources/135" target="_blank" rel="noreferrer noopener"><span>Roy and Clara Creighton Papers</span></a>
Subject
The topic of the resource
Lebanon
Photographs
Source
A related resource from which the described resource is derived
Phyllis Creighton Danby
Date
A point or period of time associated with an event in the lifecycle of the resource
1927-1929
Description
An account of the resource
<h4>Biographical/Historical Note</h4>
<p>Clara Elise Linn was born in Cambridge, Massachusetts in 1892. In her youth, Clara was involved the Christian Endeavor and the Student Volunteer Movement, two Christian missionary organizations. Clara worked as a secretary for Houghton Mifflin and then for the Ludlow Manufacturing Company in Boston. In 1913, Clara met Roy Creighton through the Christian Endeavor program.</p>
<p>Roy Creighton was born in Arizona in 1889. When he met Clara he was studying architecture at the Harvard Graduate School of Design. At the beginning of 1916, Roy left Harvard to join the YMCA, which stationed him in China. The same year, Clara entered the School of Pedagogy at the Hartford Theological Seminary in Hartford, Connecticut, where she met Ruth Hahn, a missionary nurse who had worked in China and was on furlough in Connecticut. In 1916, Ruth and Clara traveled to China to join Roy. Clara and Roy got married in Kuling, China in 1916.</p>
<p>The Creightons served as missionaries for the first half of the twentieth century. Roy's experience in architecture qualified him to become a “missionary architect,” trainhing and supervising local craftsmen in Western construction methods in order to erect YMCA buildings, missions, and schools. The Creightons lived and worked primarily in China from 1915 to 1949. However, after a furlough in the United States throughout the 1920s, the Creightons were stationed in Beirut, Lebanon around 1928. The family lived and worked in Lebanon, where Roy helped construct new buildings at the American University of Beirut, for two years. The Creightons had three children that survived to adulthood: Linn, Roger, and Phyllis. Phyllis Creighton Danby married Dr. Tony Danby, a professor at North Carolina State University. </p>
<h4>Scope/Content Note</h4>
<p>This collection contains photographs taken by American missionaries Clara Elise Linn and Roy Creighton in the first half of the twentieth century. The collection documents the lives of the Creighton family while they were stationed in Beirut, Lebanon around 1928, shortly after the country's establishment as an independent nation. The images in this collection depict the family at the various historical and cultural sites that they visited during vacation. In addition to documenting the family life of Clara and Roy Creighton and their three children, these images depict the landscape and culture of Lebanon during this period of transformation. Images include Roy Creighton working with Lebanese builders to construct the American University of Beirut.</p>
<p>To access the original materials contact the Gregg Museum of Art & Design.</p>
Contributor
An entity responsible for making contributions to the resource
Processed by Khayrallah Program staff. Collection Guide content contributed by Claire A. Kempa and updated by Allison Hall, 2023 December.
Language
A language of the resource
English
Identifier
An unambiguous reference to the resource within a given context
KC 0021
Access Rights
Information about who can access the resource or an indication of its security status. Access Rights may include information regarding access or restrictions based on privacy, security, or other policies.
This digital material is provided here for non-commercial research, scholarly, or other educational purposes pursuant to U.S. Copyright Law.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Identifier
An unambiguous reference to the resource within a given context
kc0021_020
Title
A name given to the resource
Creighton Children in Richmond Park 3
Subject
The topic of the resource
Photographs
Description
An account of the resource
A photo of Linn Creighton feeding a deer in Richmond Park, London.
Source
A related resource from which the described resource is derived
Phyllis Creighton Danby
Publisher
An entity responsible for making the resource available
Moise A. Khayrallah Center for Lebanese Diaspora Studies
Date
A point or period of time associated with an event in the lifecycle of the resource
circa 1928
Rights
Information about rights held in and over the resource
The donor retains full ownership of any copyright and rights currently controlled. Nonexclusive right to authorize uses of these materials for non-commercial research, scholarly, or other educational purposes are granted to Khayrallah Center pursuant to U.S. Copyright Law. Usage of the materials for these purposes must be fully credited with the source. The user assumes full responsibility for any use of the materials.
Format
The file format, physical medium, or dimensions of the resource
Image/jpg
Type
The nature or genre of the resource
Image
1920s
Animals
England
-
https://lebanesestudies.omeka.chass.ncsu.edu/files/original/8ade903f3f782a1c7fd021120068f274.jpg
5a81444b1d199cdca69563b8a09d7ce7
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Ishak Family Photographs
Description
An account of the resource
<h4>Biographical/Historical Note</h4>
<p>Doumit Ishak was born in Lebanon in 1964. He moved to the United States in 1985 and began college in Tennessee, but left school to move to Raleigh, North Carolina to be closer to other family members. Doumit worked at Neomonde, a Lebanese restaurant in Raleigh owned by the Saleh family, for about two years before returning to school at North Carolina State University. Members of the Ishak family are participants in the Triangle Lebanese Association.</p>
<h4>Scope/Content Note</h4>
<p>This collection contains photographs of an Ishak family trip to Lebanon and feature images of the family and the Lebanese landscape. </p>
Source
A related resource from which the described resource is derived
Doumit, Karmina, and Leann Ishak
Publisher
An entity responsible for making the resource available
Moise A. Khayrallah Center for Lebanese Diaspora Studies
Rights
Information about rights held in and over the resource
The donor retains full ownership of any copyright and rights currently controlled. Nonexclusive right to authorize uses of these materials for non-commercial research, scholarly, or other educational purposes are granted to Khayrallah Center pursuant to U.S. Copyright Law. Usage of the materials for these purposes must be fully credited with the source. The user assumes full responsibility for any use of the materials.
Contributor
An entity responsible for making contributions to the resource
Processed by Khayrallah Program staff. Collection Guide content contributed by Claire A. Kempa and updated by Allison Hall, 2023 November.
Date
A point or period of time associated with an event in the lifecycle of the resource
2000 July-2000 August
Subject
The topic of the resource
Lebanon
Photographs
Language
A language of the resource
English
Identifier
An unambiguous reference to the resource within a given context
KC 0006
Access Rights
Information about who can access the resource or an indication of its security status. Access Rights may include information regarding access or restrictions based on privacy, security, or other policies.
Digital material in this collection is only provided in limited quantities upon request for non-commercial research, scholarly, or other educational purposes pursuant to U.S. Copyright Law. For questions or to access a collection, please contact us at kcldsarchive@ncsu.edu. Please give at least 48 hours for responses to any inquiries regarding the materials.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Identifier
An unambiguous reference to the resource within a given context
Ishak_033
Title
A name given to the resource
View of London Aquarium, County Hall, London, UK
Subject
The topic of the resource
Lebanon
Photographs
Description
An account of the resource
A photograph, taken from across the Thames, of the London Aquarium, County Hall, London, UK.
Source
A related resource from which the described resource is derived
Doumit and Karmina Ishak
Publisher
An entity responsible for making the resource available
Moise A. Khayrallah Center for Lebanese Diaspora Studies
Date
A point or period of time associated with an event in the lifecycle of the resource
2000 July
Contributor
An entity responsible for making contributions to the resource
Karmina Ishak
Rights
Information about rights held in and over the resource
The donor retains full ownership of any copyright and rights currently controlled. Nonexclusive right to authorize uses of these materials for non-commercial research, scholarly, or other educational purposes are granted to Khayrallah Center pursuant to U.S. Copyright Law. Usage of the materials for these purposes must be fully credited with the source. The user assumes full responsibility for any use of the materials.
Format
The file format, physical medium, or dimensions of the resource
Image/jpg
Type
The nature or genre of the resource
Image
2000s
England
Rivers
-
https://lebanesestudies.omeka.chass.ncsu.edu/files/original/4095431f98d5f55bb62c1f206231b281.pdf
e85524d478121758c13c0949ad6001f5
PDF Text
Text
T H E A R C A D E MEMOIRS
SELECTED
POEMS
1970 . 1 9 8 0
BY
A N T O I N E F. E H A T E R
UNIVERSIDADE
FEDERAL
1981
FLUMINENSE
�T H E
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SELECTED. POEMS
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IS
�This c o l l e c t i o n i s dedicated t o
John B a r r e l l & Tom Raworth f o r t h e absurd. R i c h a r d
Gray, Gordon B r o t h e r s t o n e & H e r b i e B u t t e r f i e l d f o r
homemade brew. Wivenhoe and i t s p e o p l e i n my l i v i n g
England.
Rodney Loudon, D a v i d T i l l e y , John T i l l e y
Mike Cottam f o r f i z z i c s ,
f a t h e r and mother, Fouad
& H i n d K h a t e r , f o r t h e i r l o v e and my d e s t i n y .
Emile
& Akram, b r o t h e r s , Amal s i s t e r , & G a b r i e l Thoumas,
& u n c l e Adnan Aswad, and t h e r e s t o f t h e b i b l i c a l
f l e s h . Fahim & Claude K o r t b a w i , R a j i Abou Chakra,
A l b e r t Thoumas & many o t h e r s f o r t h e i r v i s i o n o f a
b e t t e r l i t t l e Lebanon. Madeleine R i b e s , M i c h e l l e &
Jacques f o r t h e P a r i s a i d . Mike J e n n i n g s , V a l T o t t e n
& A l a n R u s s e l l f o r t h e y l i n g e r . Jean Franco f o r g r i t .
Jo, Timmy and Laura who f r i e d me eggs and asked l o t s
o f q u e s t i o n s . Raymundo Romeo f o r t r u e f r i e n d s h i p .
A l b e r t o Guimarâes f o r m o r a l r e c t i t u d e . I v o n F i t t i p a l d i
f o r t h e r i d e t o Tamandaré, & Enaldo. Eduardo S Ana
M a r i a Imbassahy, t h e s t r a n g e n e i g h b o u r s . The f r i e n d s
I have i n Niterôi, t h e U n i v e r s i d a d e Fédéral Fluminense,
R i o de J a n e i r o & i n t h e Sociedade B r a s i l e i r a de Fîsica.
A l b e r t o C. de C a s t r o f o r h i s u n d y i n g music.
�G o s t a r i a de agradecer ao Departamento
de L i t e r a t u r a do I n s t i t u t o de L e t r a s da
U n i v e r s i d a d e Fédéral Fluminense p e l o
i n t e r e s s e demonstrado nesse t r a b a l h o .
P a r t i c u l a r m e n t e guero agradecer as p r o f e s s o r a s
Selma C. Dantas M o n t e i r o e Tereza M. de
O l i v e i r a Lima p e l o seu entusiasmo, sera o que
nâo séria possïvel a confecçâo d e s t e l i v r o .
Nossos s i n c e r o s agradecimentos aos membros
da Comissâo E d i t o r i a l da UFF, p e l a dedicaçâo
e eficiência, p o r seus esforços p i o n e i r o s
na divulgaçâo da c u l t u r a ' .
�P R E F Â C I O
A n t o i n e F. K h a t e r célébra a v i d a e a m o r t e , o amor e
a solidâo. Sua p o e s i a a p r e s e n t a a s g u a l i d a d e s m o d e r n a s
de r e a l i s m o e v i g o r imagîstico, o n d e a p a l a v r a s e
c o n c r e t i z a sera decoraçâo desnecessâria, o n d e o p a p e l
em b r a n c o é também um c o m p o n e n t e e o n d e a n o r m a e x i s t e
p a r a m e d i r - s e o s e u g r a u de a f a s t a m e n t o .
V e r s o s t r a b a l h a d o s n o s d e i x a m uma impressâo"de a p a r e n t e
s i m p l i c i d a d e , c a r a c t e r i z a n d o - s e p o r uma p i c t o r i c a
a m o s t r a g e m d e l u g a r e s , p e s s o a s , sensaçôes e s e n t i m e n t o s ,
onde o u n i v e r s a l se e x p r i m e n o i m e d i a t o l o c a l .
0 conteûdo d e s u a p o e s i a n o s m o s t r a um p o e t a cônscio
d e s i mesmo e d e s e u p a s s a d o histôrico. The
Araade
Memoirs
é s e u p r i m e i r o l i v r o e n e l e K h a t e r remémora
o s a n o s d e 1970 a 1980 em E s s e x , L o n d r e s , B e i r u t ,
Paris e Brasil.
A p r e s e n t a a v i d a p o r uma ôtica d e s e r e n i d a d e , d e alguém
q u e p o s s u i a clarividência necessâria à d i f i c i l a r t e
d a p o e s i a . .Num mundo trâgico e m a t e r i a l i s t a , p e r s i s t e
s u a fé n o homem, e uma p r o f u n d a crença n o p o d e r d o s e r
humano, q u e t a n t o c a r a c t e r i z a r a m W a l t W h i t m a n e E.E.
Cummings.
C a p t a o a b s u r d o d a existência e p o r i s s o q u e s t i o n a
s e m p r e , mas e s t a d e bem c o n s i g o mesmo e com o mundo.
E s c r e v e r , p a r a e l e ê um a t o d e v i d a e uma f o r m a d e
e s c a p a r d o absurdo".
Seus poemas m o s t r a m um homem q u e v i v e c a d a momento
c o n s c i e n t e d e s u a importância v i t a l , jâ q u e o t e m p o
nâo r e t r o a g e e e l e s e a f i r m a e s e constrôi, a c a d a
i n s t a n t e , a p a r t i r de pequenas r e a l i d a d e s c o t i d i a n a s .
O tïtulo d e s e u l i v r o é m e m o r i a s d a a r c a d a :
um
c a m i n h o - l a b i r i n t o , um camihho-mîtico q u e c o n d u z ao
âmago d o p o e t a .
Pensando e a g i n d o e l e t r a n s c e n d e os
fenômenos c o n c r e t o s , n a t e n t a t i v a d e d e c i f r a r o e n i g m a
"homem" e s e u mundo caôtico.
�Ka I n g l a t e r r a , sua j o r n a d a poética se i n i c i a , e l a
e s c o l h e a lïngua I n g l e s a p a r a e x p r e s s a r suas vivências
Seus poemas dessa f a s e r e v e l a m a angûstia do c o n f l i t o
do récem-chegado ao mundo moderno da Europa, ao d e i x a r
um paîs b i b l i c o .
Em deathwish
too (Essex
1970)
as p a l a v r a s "walk back"
denunciam o r e t r o c e s s o da humanidade, e s v a z i a d a de
v a l o r e s r e a i s . Em " s t i c k l e n g t h s o f d i s c a r d e d r u b b i s h
t i p s " e " d i s c a r d e d p e o p l e " , temos a sensaçâo de desp e r d l c i o , nas v i d a s d e s c a r t a d a s .
3
Em oountry
walk in England
(1970) o p o e t a observa a
v i d a no campo, r e t r a t a n d o - a como se usasse'uma câmara
fotogrâfica. Através dos advérbios, do p r o c e s s o
v e r b a l , da colocaçâo de "highway" e da e s t r u t u r a
c i r c u l a r campus/campo/campus, vemos seu compromisso
com a ciência e a p e s g u i s a ,
Em Barbara's
fathev dies
(Essex
1971) , a impotência
do homem, f a c e â m o r t e inexorâvel, é c o d i f i c a d a p o r um
t r a t a m e n t o a v a n t - g a r d e , adotando o p o e t a a moderna
colocaçâo tipogrâfica do t e x t o :
"her f a t h e r f e l l i n t h e f l o w e r b e d s . h e l l o , h e l l o
mummy,
a hiss
man a t e a r ,
a burr,
so h e a r t spasmodic
h a v i n g t o share w h a t i s never o f f e r e d . "
Sua j o r n a d a poética p r o s s e g u e , rumo a B e i r u t , a
pâtria-mâe. Ë o choque da experiência c r u e l da g u e r r a
Sua v i s a o h u m a n i s t i c a t r a n s c e n d e seu n a c i o n a l i s m o ,
apresentando em sua p o e s i a the oivit
war (Beirut
1976)
uma p e r s p e c t i v a amarga e r e a l i s t a .
Com técnica e l a b o r a d a , p r o c l a m a a i n u t i d a d e do sacrifîcio de j o v e n s
combatentes e de mâes e n l u t a d a s :
" d i d y o u e v e r see t h e deadboy's gun?
o r h i s mother a f t e r t h e c a r t e d box
she wore b l a c k
she wore b l a c k
mother wore b l a c k
chasing w i t h k i d a l l e y s t h e s t o l e n pickup
c a r r y i n g h e r deadboy h e r o . "
truck
�Em waiting
(Beirut
1976) c o n s t a t a n d o q u e o t e m p o e
a distância t r a z e m o e s q u e c i m e n t o d e " a i l t h e
f o o t n o t e s " , prepara-se o poeta para s e g u i r viagem.
E, em leaving
home i n the c i v i l war (Beirut
1976),
a s u b j e t i v i d a d e t r a n s c e n d e o tempo c o n c e i t u a l .
A
m u s i c a l i d a d e d a s p a l a v r a s r e p r o d u z o movimento do
relogio:
"ah i s f o r t h e h o m e l a n d g o o d b y s
forever,
f o r e v e r now t o w e e p t i m e p a s t a n d t i m e
time t o hold
ever
and t i m e t o tapdance
t i m e t o weep t h e t i m e t h a t was n e v e r . "
Em P a r i s c o n t i n u a a sensaçâo d a j o r n a d a j
Nos poemas
déménagement
(Paris
1976) e south
of France
(1976),
e l e a p r e s e n t a o v i a j a n t e , com s e u " f r i e n d l y b u n c h " ,
s e m p r e p a s s i v e l d e s e r r e t o m a d o , jâ q u e " m o v i n g
h o u s e " , às v e z e s , " i s n e c e s s a r y " .
L a , d e p o i s d a experiência d e g u e r r a , jâ a m a d u r e c i d o ,
a c e i t a e t e n t a e n t e n d e r s e u s o f r i m e n t o e o do s e r
humano. E x a l t a o s herôis anônimos, d e s c r e v e n d o com
a técnica d a m o d e r n a c i n e m a t o g r a f i a , em râpidos
f l a s h e s , uma operâria i m b a t l v e l d i a n t e d a espoliaçâo
do homem p e l o homem, em St. Lazare
railway
station
(Paris
1976):
"she
looks hard
ahead
c o m m u t e r moment
trained
and
f o rt h e evening j o u r n e y back
s o many
j o u r n e y s back
b l u r r h e r p r e v i o u s summer
holidays."
Em from London to Athens
(1975) , s e n t e - s e a influência
dos p o e t a s metafïsicos, dos s i m b o l i s t a s f r a n c e s e s , d e
E l i o t e de P o u n d :
"talking i n t o t h enightside
of
b u i l d i n g s s t a c k e d , t h e r i v e r embankment
lapping s i l e n t
E mais
images
waste."
adiante:
"cups o f t e a a t t h e d r a w i n g e n d o f t e a t i m e p e o p l e . "
�Ou, g u a n d o d e s c r e v e uma E u r o p a d e v a s t a d a p e l a g u e r r a
e d e s f i g u r a d a p o r uma reconstruçâo q u e d e s p r e z a s u a
tradiçâo m i l e n a r :
"buzzing
living
pro-gression
o f new f o r m a t s
drove h i s h e a r t
f o r the
over coalheaped
europe
into the electricbulb reality unconditionally."
Nos poemas d o B r a s i l ,
me l h o r e s .
s u a profissâo d e fé em
dias
Em ainemalandia
(Rio 1978) K h a t e r célébra a c i n e lândia, com s e u s c i n é m a s , b a r e s e o f a m o s o t e a t r o
M u n i c i p a l , onde p e s s o a s d e s f i l a m à s u a f r e n t e :
"left
turn
catching
right turn •
other people i n cartesian
glimpses."
Notïcias do q u e e s t a a c o n t e c e n d o n o mundo c h e g a m até
e l e através d o s j o r n a i s e , às v e z e s , nâo sâo s u f i c i e n t e s :
"away f r o m
an e n t i r e
people
hemmed i n b y t h e m o u n t a i n s a n d t h e s e a . "
E l e sabe que seu l u g a r é a q u i , j u n t o aos
graduâtes" em one day i n the l i f e of a
teaah&r
(Niterôi
1978).
"hungry
university
No poema the marviage
(Niteroi
1980) K h a t e r n o s a p r e s e n t a ,
num l i r i s m o c o n t a g i a n t e , o B r a s i l t r o p i c a l com s u a s
b a n a n e i r a s , c a n a s de açûcar e s e u p o v o de i m i g r a n t e s ,
o n d e e l e jâ s e i n t e g r o u .
V a r i o s c o n t i n e n t e s e l e p e r c o r r e u , v i v e n c i a n d o as
experiências d e s e u s h a b i t a n t e s , amando e s o f r e n d o ,
com e l e s .
Sem i d e o l o g i a s .
Sem p a r t i d a r i s m o s .
Assume
o païs o n d e réside, sem a b r i r m â o d a s u a i d e n t i d a d e
histôrica.
�Por i s s o , a g a i v o t a da capa. E l a e s c o l h e u seu vôo,
seu d e s t i n o .
Ë a mensagem de A n t o i n e F. K h a t e r ,
cidadâo do mundo. Corn a força da crença, na sua
missâo de i n t e l e c t u a l c o n s c i e n t e , t r a z c o n s i g o uma
soluçâo mâgica p a r a os maies do mundo: sua ciência
e a sua a r t e .
K h a t e r é um p o e t a ûnico. Neste seu p r i m e i r o l i v r o
consegue r e u n i r t o d o s os temas c e n t r a i s da l i t e r a t u r a
do século v i n t e e t o d a s as técnicas literârias
encontradas nas obras dos melhores a u t o r e s como
T.S. E l i o t , E z r a Pound, W a l l a c e Stevens, e W.H. Auden,
sera a b r i r mâo da sua o r i g i n a l i d a d e que se c a r a c t e r i z a
p e l a celebraçâo lïrica do c o t i d i a n o , r e c o n d u z i n d o o
homem comum a. sua posiçâo de grandeza.
Selma C D .
Monteiro
Tereza M. de O l i v e i r a Lima
�P R E F A C E
A n t o i n e F. K h a t e r célébrâtes l i f e a n d d e a t h , l o v e a n d
solitude.
H i s p o e t r y présents a i l t h e m o d e m q u a l i t i e s
of r e a l i s m and o f t h e v i g o r o f imagery, where t h e word
t a k e s i t s p l a c e w i t h o u t u n n e c e s s a r y décoration, w h e r e
the einpty space i s a l s o a component, and where t h e n o n
e x i s t s t o measure i t s degree o f s e l f r e m o v a l .
The w o r k e d v e r s e s l e a v e u s w i t h t h e i m p r e s s i o n o f
a p p a r e n t s i m p l i c i t y , c h a r a c t e r i s e d as t h e y a r e b y a
p i c t o r i a l e x p o s i t i o n o f p l a c e s , p e o p l e , s e n s a t i o n s and
sentiments, t h e u n i v e r s a l f i n d i n g form i nt h e l o c a l
and immédiate.
The c o n t e n t o f h i s p o e t r y s h o w s u s a p o e t c o n s c i o u s o f
h i m s e l f a n d o f h i s p a s t . The Arcade
Memoirs
i sh i s f i r s t
b o o k , a n d i n i t K h a t e r r e l i v e s t h e y e a r s 19 70 ' t o 1 3 8 0
i n Essex, London, B e i r u t , P a r i s and B r a z i l .
He sums l i f e w i t h a s e r e n e v i s i o n , o f someone who
possesses t h ec l a i r v o y a n c e necessary f o rt h e d i f f i c u l t
a r t o f p o e t r y . I n a t r a g i c and m a t e r i a l i s t w o r l d , h i s
f a i t h i n man p e r s i s t s as w e l l a s a p r o f o u n d b e l i e f i n
the power o f h u m a n i t y , w h i c h so c h a r a c t e r i s e d Walt
Vïhitman a n d E.E. Cummings.
He c a p t u r e s t h e a b s u r d i n e x i s t e n c e , a n d f r a g m e n t s i t
i n t o c o n s t a n t q u e s t i o n s . He i s , h o w e v e r , s a t i s f i e d
w i t h what he i s and w i t h h i s r e l a t i o n s h i p t o t h e w o r l d .
The w r i t i n g f o r h i m i s a n a c t o f l i v i n g a n d a n e s c a p e
from t h e absurd.
The poems o f K h a t e r d e m o n s t r a t e a man who l i v e s t h e
présent c o n s c i o u s o f i t s v i t a l i m p o r t a n c e , a s t i m e
s l i p s away l o s t , a n d o n e who c o n s t r u c t s a n d g r o w s
w i t h e a c h moment t h r o u g h s m a l l d a i l y r e a l i t i e s .
The t i t l e o f h i s b o o k i s a r c a d e m e m o i r s :
a labyrinth
j o u r n e y , a mythical. t r a j e c t o r y t o t h e s o u l o f t h e poet.
T h i n k i n g a n d a c t i n g , h e t r a n s c e n d s concrète p h e n o m e n a e
i n a n a t t e m p t t o d e c i p h e r t h e e n i g m a o f man a n d h i s
chaotic world.
�H i s p o e t i c j o u r n e y s t a r t s i n E n g l a n d , and t h e r e he
o h o o s e s t h e E n g l i s h l a n g u a g e as t h e médium f o r
e x p r e s s i n g h i s expériences. The poems o f t h i s p h a s e
r e v e a l sadness and t h e a n g u i s h i n t h e c o n f l i c t o f t h e
newcomer, l e a v i n g a b i b l i o a l c o u n t r y t o t h e new w o r l d
of Europe.
I n deathwish
too CEssecc 1970) , t h e w o r d s " w a l k b a c k "
d e n o u n c e t h e détérioration o f h u m a n i t y , e m p t i e d o f
real values.
I n "stick lengths of discarded rubbish
t i p s " a n d " d i s c a r d e d p e o p l e " we f e e l t h e s e n s a t i o n o f
loss i n discarded l i v e s .
I n oountry
walk -in England
(1970) t h e p o a t o b s e r v e s
t h e l i f e i n t h e c o u n t r y s i d e , d r a w i n g i t as i f w i t h a
p h o t o g r a p h i e caméra. W i t h t h e a d v e r b s , t h e v e r b a l
t e c h n i q u e , t h e s i t i n g o f " h i g h w a y " and t h e c i r c u l a r
s t r u c t u r e o f c a m p u s / c o u n t r y s i d e / c a m p u s , we sensé h i s
c o m m i t t m e n t t o s c i e n c e and r e s e a r c h .
I n Barbara's
father
di.es (Essex
1971) , t h e i m p o t e n c e
o f man f a c i n g i n e x o r a b l e d e a t h i s c o d i f i e d i n a n a v a n t g a r d e t r e a t m e n t , as t h e mood i s e c h o e d b y t h e b r o k e n
s e t t i n g of the words:
"her
father f e l l
mummy,
man
i n the flowerbeds.
a
a tear,
having
hello,
a hiss
so h e a r t
hello
burr,
spasmodic
t o share what i s never o f f e r e d . "
The j o u r n e y o f t h e ' p o e t p r o c e e d s t o B e i r u t , h i s h o m e l a n d .
I t i s t h e r e t h a t t h e s h o c k o f t h e c r u e l w a r expérience
awaits.
H i s h u m a n i s t v i s i o n goes beyond h i s n a t i o n a l i s m ,
a n d i n h i s p o e t r y o f fhe a-ivil war
(Beirut
1976)
Khater
draws a b i t t e r and r e a l i s t i c p e r s p e c t i v e .
With elaborate
technique, the poet proclaims the f u t i l i t y of s a c r i f i c e •
of young f i g h t e r s and m o u r n i n g m o t h e r s :
"did
you
e v e r see
t h e deadboy's gun?
or h i s mother a f t e r the c a r t e d
she
wore b l a c k
mother wore
chasing
she
wore
box
black
black
w i t h k i d a l l e y s the stolen pickup
c a r r y i n g her
deadboy
hero."
truck
�•In waiting
(Beirut
1976) , s t a t i n g t h a t t i m e and d i s t a n c e
make f o r g e t " a i l t h e f o o t n o t e s " , he prépares t o c o n t i n u e
h i s j ourney.
And, i n teaving home in the c i v i l war (Beirut
1976) ,
the p r i v a t e s e n s a t i o n s t r a n s c e n d c h r o n o l o g i c a l t i m e .
The m u s i c a l i t y o f t h e words r e p r o d u c e s t h e movement o f
the c l o c k :
"ah i s f o r t h e homeland goodbys f o r e v e r ,
f o r e v e r now t o weep t i m e p a s t and t i m e
ever
t i m e t o h o l d and t i m e t o tapdance
t i m e t o weep t h e t i m e t h a t was
never."
I n P a r i s t h e j o u r n e y c o n t i n u e s . The poems déménagement
(Paris
1976) and south of France
(1976) , i l l u s t r a t e
the t r a v e l l e r w i t h h i s " f r i e n d l y bunch", w h i c h he
can always f i n d a g a i n once "moving house" sometimes
" i s necessary."
There, a f t e r t h e war expérience, he m a t u r e s , accepts
and t r i e s t o u n d e r s t a n d h i s s u f f e r i n g and t h a t o f
o t h e r s . He sympathises w i t h anonymous h e r o e s ,
d e s c r i b i n g i n t h e poem St. Lazare railway
station
(Paris
1976), w i t h r a p i d c i n e m a t o g r a p h i c l i k e f l a s h e s ,
a woman w o r k e r f a c e d b y h e r e x p l o i t a t i o n :
"she
l o o k s h a r d ahead
commuter moment
t r a i n e d f o r t h e e v e n i n g j o u r n e y back
and so many
j o u r n e y s back
b l u r r h e r p r e v i o u s summer h o l i d a y s . "
The i n f l u e n c e o f t h e m e t a p h y s i c a l p o e t s and French
s y m b o l i s t s , o f E l i o t and o f Pound, i s f e l t i n t h e
poem from London to Athens
(1975),
ironically:
" t a l k i n g ' i n t o t h e n i g h t s i d e images
of b u i l d i n g s s t a c k e d , t h e r i v e r embankment
l a p p i n g s i l e n t waste."
�And,
l a t e r on;
"cups o f t e a a t t h e d r a w i n g e n d o f t e a t i m e p e o p l e . "
Or w h e n h e d e s c r i b e s a E u r o p e d e v a s t a t e d b y t h e w a r
and d i s f i g u r e d b y a r e c o n s t r u c t i o n based i n " e l e c t r i c b u l b
reality":
" b u z z i n g p r o - g r e s s i o n o f new f o r m a t s f o r t h e
l i v i n g drove h i s h e a r t over coalheaped
into
the electricbulb reality
europe
unconditionally."
The poems w r i t t e n i n B r a z i l e x p r e s s t h e p o e t ' s
i n b e t t e r days.
faith
I n oinemalandia
(Rio 1978) K h a t e r célébrâtes t h e
downtown a r e a w i t h i t s cinémas, b a r s a n d famous
M u n i c i p a l Théâtre, w h e r e p e o p l e m i 1 1 a r o u n d a n d i n
front o f him:
"left
turn
right
turn
catching other people i n cartesian
glimpses.".
The w o r l d news corne t o h i s r e a c h i n n e w s p a p e r s , b u t
are sometimes i n s u f f i c i e n t :
"away f r o m a n e n t i r e
people
hemmed i n b y t h e m o u n t a i n s
and t h e sea."
He k n o w s t h a t h i s p l a c e i s h e r e , t o g e t h e r w i t h t h e
" h u n g r y graduâtes" i n one day i n the l i f e of a
university
teacher
(Niteroi
1978).
I n t h e poem the marriage
(Miterai
'1980) K h a t e r présents
u s , w i t h an i n f e c i o u s l y r i c i s m , t r o p i c a l B r a z i l w i t h
i t s b a n a n e i r a s , i t s sugarcane f i e l d s and i t s immigrant
p e o p l e o f whom h e i s a l r e a d y o n e .
Our p o e t h a s t r a v e l l e d v a r i o u s c o n t i n e n t s , s h a r e h o l d i n g
t h e expériences o f t h e i r i n h a b i t a n t s , l o v i n g a n d s u f f e r i n g w i t h t h e m , f r e e f r o m 'idéologies, f r e e f r o m p a r t i s a n
sentiments.
He a d o p t s t h e c o u n t r y i n w h i c h -he r é s i d e s ,
y e t conserves h i s h i s t o r i c a l i d e n t i t y .
,
�T h i s g i v e s measure t o t h e s e a g u l l o f t h e c o v e r , w h i c h
d r a m a t i s e s h i s f l i g h t , h i s d e s t i n y . I t i s t h e message
of A.F. K h a t e r , c i t i z e n o f t h e w o r l d . W i t h t h e f o r c e
of b e l i e f i n h i s m i s s i o n o f t h e c o n s c i o u s i n t e l l e c t u a l ,
ne b r i n g s w i t h him a magie s o l u t i o n t o t h e i l l s o f t h e
w o r l d : h i s s c i e n c e and h i s a r t .
Khater i s a unique p o e t . I n t h i s f i r s t book, he i s
a b l e t o b r i n g t o g e t h e r a i l t h e b a s i c thèmes o f
t w e n t i e t h c e n t u r y l i t e r a t u r e , and a i l t h e l i t e r a r y
t e c h n i q u e s e n c o u n t e r e d i n t h e works o f t h e b e s t
a u t h o r s , l i k e T.S. E l i o t , E z r a Pound, W a l l a c e Stevens
and W.H. Auden, w i t h an o r i g i n a l i t y c h a r a c t e r i s e d by
the l y r i c a l célébration o f t h e d a i l y l i f e , c o n s c i o u s l y
r e g u i d i n g t h e common man t o h i s p o s i t i o n o f g r e a t n e s s .
Selma CD.
Monteiro
Tereza M. .de O l i v e i r a Lima
��17
c o u n t r y w a l k i n England
(Essex 1970)
I t i s a w i n d y w a l k f r o m t h e campus
across t h e ploughed f i e l d s you f o r g e t ,
everything
except t h e c o l d p a i n cropping your h a i r
e a r t h clumps
and,
and,
then
t h e farmhouse
where g r a p e v i n e f r i e n d s
live
p r o b a b l y gone f o r a w a l k .
I t i s a sunny day o u t
a f t e r a i l i n England.
t h e k i d s a r r i v e p a s t t h e hou.se t o t h e sound
of u p s t a i r s music,
off
t o w i n t e r t e n n i s r a c k e t s and b a l l s ,
t o you
t h i s one t o y o u and j o y o u s g i g g l e s d i s t a n t
down t h e p a t h
s a t q u i t e l y a f t e r , t h e n w a l k e d back
slowly.back i g n o r i n g
t h e highway,
s l o w l y t o t h e b u i l t u p campus
�deat'hwlsh. t o o
walk' baek
t h e r.ight a m i l l i o n
bidden
(Bssex 197 0)
stars
b l e a k y a r d or s t i c k l e n g t l i s a£
d i s c a r d e d rubbish. t i p s ,
discarded people
long
ago
o r something
c r i e d a mari, s h o u l d n ' t .
�relationsh.jp'' (Essex 197 0)
k i c k i n g h e r s m i l e s we stalkeâ
the
village
history
i n brown b o o t s by t h e c h a p e l , ar.d
and back t o a t h r e a t e n e d
cemetry,
Christmas.
homely dressed b r o t h e r d o e s n ' t l i k e newcomers
f o r i t u p s e t s h i s g u i l t , y o u s a i d remember,
the
p r e c i s e d garden gâte,
g r i n n i n g intolérance
l i k e f a t ideology.
we w a l k e d i n Amsterdam l o o k i n g f o r a cheap hôtel
pairing stroke relationships,
a r c a d i n g a t t h e end o f Rembrandt's memory
the
c e n t r a l s t a t i o n b i n e béret goodbys.
t h e n i t t o o k some t i m e t o s e t t l e
l e a v e s and
a i l ,
i n r e d b r i c k tenament housing-, bookkeeping
the
a f f e c t i o n i n t h e time before discovering
t h a t sensés d i e h a r d .
�:20
Barbara's f a t h e r d i e s
(Essex 1971)
her f a t h e r f e l l i n t h e flowerbeds. h e l l o , h c l l o
mummy,
a hiss
man a t e a r ,
. a'ter,
s© h a a r t spasmqdic
h a v i n g t o sharo what i s ne v e r o f i r e r e d .
t a k e my soûl f o r n o t h i n g
ashes t o ashes, d u s t t o d u s t ,
I remember w o r k e r s i n b o o t s
handful
a i l r o o t e d i n waxed wood
kneehigh i n s i d e t h e e a r t h .
�r e l a t i o n s h i p ends (Essex 1971)
p r i c e our d i g n i t y l o w l y
y o u r needs must
t o be f r i e n d s a f t e r w a r d s ,
as i f ,
t h e b e d l i n e n o n l y crumples
c r a d l e s n o t o u r common
your.curves
seeking.
cradles your treachery
t o even y o u r v e r y s-oul.
t h e dagger drawn
high
stood t h e k i t c h e n eye,
fishlike,
and s o ,
so hacked b r a i n l a u g h t e r
guietly stool
I said, •
so done
,
undone,
undone many many c o l d téléphone c o n v e r s a t i o n s
i n l u n a r February.
�f r o m London t o Athens
walked the cobbledstones
(1975)
f r o m t h e C u t t y Sark
t a l k i n g i n t o t h e n i g h t s i d e images
o f b u i l d i n g s s t a c k e d , t h e r i v e r embankment
l a p p i n g s i l e n t waste.
her fellowman's pubtime bore
décorative i n t h e m i r r o r h a i r c r e a m
capped h e r w a n d e r - l u s t
s i g h , counts a p l e t h o r a
cups o f t e a a t t h e d r a w i n g end o f t e a t i m e
have I t i m e t o pay
people.
the.pullman
- away havoc t h e d i c k a t o r
stuck
,
v i n v i n v i n o m o t o r i n g t h e s i l k y shawl t o Athena
a t e x a c t l y 12:25
so t h e s t i c k e r
t h a t day boarded f o r Ostend.
s a i d , t i c k e r rump rump, t i c k e r
rump s l o w l y t i c k e r
t h e f r o n t bumper second
rubber t y r e s b i t i n g the f l a t
steel
coming i n t o t h e machine t o o l e d r o c k i n g s h i p
we
crossed
, her legs c o n v u l s i v e t r e m b l i n g
came s u d d e n l y i m m i g r a t i o n p e o p l e
as t h e y from t o a h a i t i n f r o n t o f t h e t e r r i f y i n g
q u e s t i o n , do you have a s e a t b e l t
smiled the
s e v e r a l b u t s hooked lookback
b u z z i n g p r o g r e s s i o n o f new
officiai.
i n t o t h e sea
,
formats f o r the
l i v i n g , drove h i s h e a r t over coalheaped europe
i n t o the electricbulb
a blinking
eternity
r e a l i t y unconditionally.
later,
cupped
l u l l a b y bay a u t o r o u t e under t h e v a s t b l a c k
i n t o the everever
sky
f i r l a n d o f t h e h i l l y German
ist-mot-opo-gra, t o o t h p i c k i n g the e a r l y morning t r u c k s .
��The c i v i l war ( B e i r u t 1976)
d i d you e v e r see t h e deadboy's•gun?
o r h i s mother a f t e r t h e c a r t e d box
h i s i d i o t b o y f r i e n d s p o i n t i n g a r r o g a n t guns
no one s t o o d g u a r d t h e n , no one s t o o d g u a r d t h e n .
she wore b l a c k she wore b l a c k ,
mother wore b l a c k
chasing w i t h k i d a l l e y s t h e s t o l e n pickup
truck
c a r r y i n g h e r deadboy h e r o .
a t t h e c o r n e r s t o o d , under t h e o n l y f i g t r e e s t o o d
one more k h a k i i d i o t b o y
and
o f f t h e y went
the r i f l e
stood,
o f f t o p i c k up t h e n e x t deadboy h e r o .
the c r i p p l e d j o u r n a l i s t s h u f f l e d ,
s i l e n t t h e people stood
watching,
watçhing t h e deadboy h e r o .
i n t h e n i g h t t h e f i g h t i n g went on
d o w n h i l l from suburbia,
mother l a y wounded by m o r t a r
sheIls,
i n the shelter together cradling
the b u i l d i n g s stood s t i l l
s t i l l i n t h e a n t h i l l darkness
w h i c h t o o k t h e deadboy h e r o .
distortions,
�25
waiting
( B e i r u t 1976)
t h e green w i n e b o t t l e s t a n d s c r i m s o n
i n t h e s u n l i g h t on t h e t a b l e t h r o u g h t h e
d i n i n g room window g r i l l ,
s i s t e r i s phoning
and t h e w o r l d gesticulâtes
on a p i n head.
désire on t h e o t h e r hand Dostoyevsky
said
i s l i f e i t s e l f f r o m r e a s o n down t o s c r a t c h i n g o n e s e l f .
now have y o u e v e r
oh
what a s w e l l p a r t y t h i s i s .
how e a s i l y one f o r g e t s
a i l the footnotes
t h e d i v o r c e d mother o f two who gave
me s p a n i s h s a l a d and t y p e d t h e t h e s i s ,
t h e b r i d g e t h e dead b u s - s t o p s w a i t i n g f o r a b u s ,
the nineteen f o u r t y e i g h t b l a c k Ford which a i l o f
wivenhoe s t a t i o n r o a d
had t o push i n March,
I ' 1 1 corne back
I ' 1 1 corne back
�26
l e a v i n g home i n t h e c i v i l war ( B e i r u t 1976)
I f ah i s an o b s e r v a t i o n s t a t e ,
the
l a s t snow came i n t h e
snapshot
of
s i s t e r ' s bussed s c h o o l
friends,
and t e a i s a t r i a l
packed a l o n g m o u n t a i n roads,'
h e r p a r e n t s wept on h e r wedding day,
her p e o p l e t o o
whose préparation s t a g e i n v a r i a b l y ends,
she wore p r o u d t o t h e greek c h u r c h
and novf,
liturgy
. , o n l y now,
chicken,
now swaying t o t h e k h a k i j e e p e s c o r t ,
wept
i n marna ' s arms
h u d d l e d w i t h husband and s u i t c a s e s t h e backway
out of t h e land,
t h e n t e a i s r e g u l a r , and
ah i s f o r t h e homeland goodbys f o r e v e r ,
f o r e v e r now t o weep t i m e p a s t and t i m e
t i m e t o h o l d and t i m e t o tapdance
t i m e t o weep t h e t i m e t h a t was never.
ever
��pplice registration
( P a r i s 1976)
e a r l y morning cornes t o t h e b a r r i e r s h u f f l e .
in
t h e airtumn s t r e e t ,
t o t h e b r o a d wood gâte, eager
uniforms sucking t h e i r psychology
could
rain
on t h e • l i t t l e
people,
shuffle
p e o p l i n g t h e i r w a i t t o man f i l i n a s ,
l i t t l e people, l i t t l e
people
s h o u l d e r t h e pavement dug deap,
nejçt t o iffice* g&»fee..
�P a r i s sud (1976)
c h i l l e d t h e morning bakery
clatter
weary w i t h o t h e r p e o p l e ' s h e l p
s t u c c a t t o h i g h - h e a l i n g t h e pavements,
l e f t b e h i n d o v e r newspapers.
i mesmerised f o r a t r a f f i c ^ l i t moment •
cigarrette butts interrupting eternity,
c l a u d i u s corne f r o m b e h i n d
in
a c l e a n sweep o f european d e s t i n y .
c r a d l e d an i r r a t i o n a l s a n i t y monseigneur
on a u t o r o u t e s u d u n z i p p e r i n g
/
the
at
highway sideways
s e v e r a l m i l l i o n r a i n d r o p s p e r swsosih,
i n t h i s r a i n y n i g h t cheezy c u l t u r e .
saw
�déménagement ( P a r i s 1976)
when moving house i s necessary
r o l l e r pack t h e f o u r h o r s e power
under a sunday s u n s h i n e ,
t h e f r i e n d l y bunch s t e p p e d o u t
onto t h e
b a l o o n s buoy afterwàrds,
m i n d f u l o f t h e barman's moustache
above t h e wood t i k t a k , and
. l i n e d t h e snapshot w i t h b o u l e v a r d e t r e e s
l a u g h i n g s m a l l g l a s s e s t o madelaine's* h e a l t h y bos
�s o u t h o f France' (1976)
as she s a t h u d d l i n g h e r memories
t a k k e d t o t h e woodbeams o f
the
little
cabin o f r i v e r goat v a l l e y ,
as f a r as t h e g l a c i e r s c o u l d g e t
l e a v i n g a d a r k brown on t h e dusk landscapa
w i t h l o t s o f c a s t a n i o u ' t-rees fe^pgfeag thé déad l e a v e s
t o t h e c r a c k l e o f t h e reâ gmecuïrâ:
on o u r w a l k up t o t h e ne-xt v i l l a g e
so m a p r e a l i n t h e m a s s i f c e n t r a l
thiose
p h o t o g r a p h s o f o u r v a c a t i o n on orgiaîilsed b;eS3ià«ne.n.
�32
S t . Lazare r a i l w a y s t a t i o n ( P a r i s 1976)
she l o o k s h a r d ahead
commuter moment
t r a i n e d f o r t h e evening journey
and so many
back
j o u r n e y s back
b l u r r h e r p r e v i o u s summer h o l i d a y s .
g r e y p u f f s around t h e r a i l w a y c o n t i n e n t ,
a t t h e window i c i n g
•
.
i n l a t e n i g h t January
p i n b a l l machine récréation f o r h e r w o r k i n g e l a s s
she b a t t e d h e r e y e l i d s
i n between unspoken commuter moments.
mates
f
�33
Sunday w a l k w i t h Herma, N a t h a l i e , M a l t e , i n F r i d a y woods (Essex 1977)
c o u l d y o u s k i p jump t h e woods
o r see i m m e d i a t e l y t h e w a t e r
lining
beyond,
t h e m i c r o f i l m d o t t e d w i t h u n i n t e l l i g e n t guesses
t h e woman,
t h e mouthpiece
t h e o f f s p r i n g d i s a p p e a r i n g i n t o t h e woods.
music
wail
r u f f l e s t h e wind, p i c k pocket
pound n o t e s ,
my c a p i t a l
y e l l o w , g a t h e r i n g d a i l y masses
t h i n l y s e t between commuter t r a i n s and i n s a n i t y .
t i l e s s.lant t h e r o o f t o p y i s i o n
out t o g e t you
i n a bead s u c c e s s i o n o f y o u r suburban f e a r ,
and t h e s l i c k mud b o o t s t h e y haye
designed
f o r t h e n e x t génération o f a n t i n u c l e a r b a b i e s .
so s m i l e oh c h i l d on F r i d a y woods
as r e d l i c k f a c e s t a k e t h e highway t o g u i c k o b l i v i o n ,
c h i c k e n d o o d i e ' l l corne r i d i n g on a donkëy.
�BLANK PAGE
�35
pne day i n t h e l i f e o f a u n i v e r s i t y ts.ach.er ( N i t e r S i 1978)
s h o v e l i n g médiéval seasons
a t t h e t e t h e r end o f a new model
credenciamento p o o f t a k e t o pass on
t o t h e h u n g r y graduâtes t h e i r r o b e d ceremony.
I r e a d t h e news e v e r y day,
. .
w e l l a l m o s t e v e r y day
p r i n t i n g p r e s s e d what made i t
l i k e télévision t i n s o l d i e r s
•
ready t o r e c o n s i d e r ,
•bloodshot eyes l o o k i n g t h e words
_
away f r o m ah e n t i r e p e o p l e
hemmed i n by t h e mountâins and t h e sea.
''•
.'
|
. i
\
�36
t h e n i g h t j o u r n e y Sâo Paulo t o R i o (1978)
t h e t r a i n yanks p a r a l l e l s on t h e
p l a t f o r m a waved f i n g e r t i p s
such i s t h e w i t h e r e d a n g e l ,
d i s t a n t a t t h e gâtes o f heaven.
on t h e t a b l e s t o o d a r e d r o s e
out of bellshop s i l v e r •
rocking s l i g h t l y
the crossing
m o o n l i g h t by t h e e v e r b l a c k orange
t h e -.vaitross l u b r i o a t e
c o f f e e cups
for•eoanter•breed
ixash
groves.
a r e s t r a i n e d w h i p l a s h on t h e
back o f an e n t i r e ' n a t i o n oh sweet sugarcana
lord.
�r e f l e c t i o n f r o m my baywindow i n Niterôi
(1979)
f o r g i v e .an o l d hand
dabbling
i n f o r m a t t h e edge
of t h e chinese water margin s a i d t h e c h i l d r e n ,
floating point
sanity
mistook you o f a i l people
i n t h e dense p h o t o g r a p h .
a f t e r t h e Fluminense heans
cornes a humped v i s i o n o f d e s t i n y
l o o k i n g a t t h e Gnanabara bay r e g u l a r f e r r y
f r o m one end ©f t h e window t o t h e otherSantos Dumont t o t h e H o v o h o t e l , t h e n
crossir.gs,
�38
f a t h e r and.• mother i n Copagabana (1980)
the
jestor
s i g n s push
the
images
behind f a t h e r ' s
' '
coffin
as t i m e l a g s i n l e a d f r o m mother
who i n s i s t e d
t h a t walking hehind i t i n a progression
i s good.
c a l e b r a t e t o d a y i n a random walk- o f
Copacabana t h e f r e s h e u t
on t h i s s i d a o f t h e hémisphère t h e n i g h t l i f e
of p r e v i o u s c o l o n i a l n i g h t l i v e s
butterfly
existence
c l a p p i n g t h a i r breiBn
��the
marriage
(Niterôi 19 80)
giggle wellbfiing defined
so many round moons t u r n e d r i g h t ,
a f t e r t a x i p r o f e s s o r s t o and back f r o m k i n d e r g a r d e n .
leaf the small c i t y
where t r e e s r i d e
sideways
f r o m t h e house y o u r y o u t h f u l l f r i e n d p l a n s .
we a t e a t t h e c a s t i r o n marble t o p , images
n a p k i n s t a l k e d h o l d i n g t h e i t a l i a n napoléon u p s i d e
down f r o m a t l a n t i c r u n s .
the
bananas grow b i g g r e e n l e a v e s
h e r e you s a i d
and when i t r a i n s i t g l i s t e n s l i k e sweaty humans.
even so y o u r m a r r i a g e ceremony i s
a mère j e s t t o mother's
s t a i r c a s e neighbours,
c l i m b i n g a sweet economy one b l o c k away
f r o m shacks and t r o p i c a l
the
rains,
asset o f blonde immigrants
l i k e f a t h e r l i k e son i n a i l
languages.
�41
cinemalandia
(Rio 19 80)
r e d c h a i r s s a t on f o u r l e g s each
downtown,
you corne t o elbow t h e resfc o f humanity,.
a r a c e shaded réels goodby c o l o n i a l B r a s i l
opens t h e window f r o m m a n h i g h t t o g l a s s t o p s .
l e f t tiirn right
turn
c a t c h i n g ' o t h e r people i n c a r t e s i a n glimpses
updown f r o m t h e m u n i c i p a l théâtre,
y e t c h e m i s t r y c o u l d n ' t ousbwit o l d âge
se she d e l i h e r a t e l y t o o k h e r f ivé ciy_iâ-:n&n away
from t h e c i t y ,
I my h i d d e n
hopscotch,
t o u c h i n g g l a s s t o g l a s s a t eyale-wel- afeej&ia: <ghe b r i m
knowingly.
'
�Claire
(Rio 1980)
she n o z z l e s h e r s e l f a c u r l y space
between i n f i n i t y and u n i n t e r e s t i n g
a daisic smile f l i c k e r s
perfection,
beneath
t h e amber f o r c e b e c k o n i n g .
f i e s t a h o i s t her dress i n t h e clean
honey sweep o f d a n c i n g f i g u r e s ,
corne h o l d my hand d a r k brown eyes
corne s t a y i n t h e abandon o f t h i s
embrace.
p i c k y o u r door l a n d f l o w e r
s t e p o u t money i s o n l y f u n n y paper, and
t w e n t y thousand horses t u g y o u r s o u l t o u c h
s p l i t t i n g f o l d s from f a i t h f u l h a i r .
corne h o l d my hand d a r k brown eyes
corne s t a y i n t h e abandon o f t h i s
embrace,
w h i p my n e c k l a c e w i t h summer's breeze
t o g e t h e r t a s t e a r c h e d eyebrow's
destiny.
r u s t l e l e a v e s t u r n t h e s m a l l hours
o f t h i s t e r r a c e j a s m i n e dream,
twinkle
twinkle l i t t l e
star
d e a t h f r o m j o y i s t h a t much f a r .
corne h o l d my hand d a r k brown eyes
corne s t a y i n t h e abandon o f t h i s
embrace.
�Picassov(Hiterôi 19 80)
i n Cyprus i saw
t h e band
• i m p r e s s i v e spasms sbadow
the l a d i e s garden
brimhats
colours f l y i n g
drums p i c k
ace,
oh y o u n g - u n t e s t e d g i g g l e s ,
s h o e l a c e d t o t h e ground
,
s h i f t i n g h e a r t b e a t s and e x p e c t a t i o n s
between marble t o p s
and p e n c i l s ,
the w a i t e r s d r e s s e d i n b u t t e r f l y b l a c k .
�44
yesterdays
m a t t e r when i t ' s gone (1971-1980)
b e e s w i r e d p r o m i s e s ends t h e d a n g l i n g
line
e u t no more,
n e a t no more,
t a i l o r eut
t h e young l a d y ,
no more
between s e a t e d p a r e n t s .
will
a l g e b r a measure héritage i n semen
t e s t u b e s on t h i s géodésie m i d n i g h t ?
browneyes z i p p e r e d o u r âge and gone
,
dye-atomic
adlib his vision,
lament j u s t i c e e u t no more t h e
légal c r a z y c l o c k w o r k
supper
h o l d i n g on t o a f f e c t i o n
h i g h h i g h above t h e A t l a n t i c .
tam tam t h e undergrov?th
t o apartment biocks
n i c k e d i n r a d a r beeps
t h e r e i s no t e x t b o o k answer
,'
only
and g u i e t l y can needs
a b e e t r o o t chewed
come come now i n s i d e y o u r b a l c o n y
the a i r
blinking
neighbours.
port
eternity
s e v e r a l breeds i n t o
mémo
plan
come
up
this
alto
one s t a i r c a s e a t a t i m e , s i n g i n g j o y o n s
canticles
f o r two s u g a r l o a f s
t a x i i n g on t h e t y r e b u r n t runway home - l i k e o l d t i m e s .
�45
Tamandaré- (Récife 1980)
swallow a v i o l a t e d q u i n t e t arm
and g a l l o p o u t t h e scabbard
i n wonder o f coconut
crossed
trees,
h o i s t a navigated ship
the
sweat seeds due l i f t
unloading
and r a c e ,
t e l l t a l e d t h e o l d woman-and t h e sea.
i n v e s t s o l d âge w i t h s t r i n g e d p r a y e r
under beseaching
eyes,
h e r back b e n t t'o d u t c h churches ir.assed '
by t h e p o r t u g u e s e , and s m i r k o f o l d e r s t o r i e s
between stiïl o l d e r t e e t h ,
t e l l t a l e d t h e o l d woman and t h e sea.
f i s h e r m e n t h e i r marrow g r i p ,
deep b l u e gods
rope
and heave
jangada f l u t t e r t h e i r o u t w a r d d e s t i n y ,
s t i c k b u r n by day a s a l t r y
skin
what by t h e c o o l of n i g h t s o f t l i g h t s
yield,
t e l l t a l e d t h e o l d woman and t h e sea.
when t h e sun s e t s a c o n t i n e n t conquered
the
i n d i a n dead and d y i n g
l i e s s t a c k s o f t r e a t i e s , d u s t e d monday markets
j o g g i n g buses w h e e l i n g new myths, and
p l a n t a t i o n pound t h e h e a r t o f t h e weak,
t e l l t a l e d t h e o l d woman and t h e sea.
so t h e cup o f rough m i r t h i n one hand
crushed t h e b i r d o f i t s eyes
lifted
tipping
mellow songs w i t h m e l a n c h o l i c
cries,
t h r o a t sugarcane k n o t s human c r u s h e d , now l a s h e d , now s c i e n c e d ,
l i f t e d one more cup t h a t f r i e n d s h i p never d i e s ,
t e l l t a l e d t h e o l d woman and t h e sea.
�the r u i e s
( R i o 1981)
my o t h e r h a l f cornes a t n i g h t d r e s s e d i n b l a c k b u t t e r and l i g h t
w i s h y o u were a l w a y s , honeybee
t a s s l e f o o t s t e p s p r e t t y and b r i g h t .
g i v e me t h e l o c o g i v e me t h e m o t i o n
w a i t ye here f o r t h e b l i s s f u l
notion
I t o o k t h e hand w h i c h gave me m i l k
y e s t e r d a y s h r i v e l l e d w i t h many a l o t i o n .
s t a t e t h e case oh dear f a t h e r
l e t t h e s t o p s go always f a r t h e r ,
my memory d a l l i e s and s h a r p l y
pops
l i k e b u b b l e s gone l a r g e r and l a r g e r .
you
s a i d l i f e i s near and h i t h e r
p r o o f y o u gave w i t h smacks and s l i t h e r
I t o o k y o u r mouth b e t w i x t my
lips
never s h o u l d I have l e t y o u b l i t h e r .
corne l a y by my t r u e
side
young l o v e r o f o l d , and a b i d e
t h e r u l e s a r e s i m p l e , l o v e one a n o t h e r
t i l l one i s none and h a l f l i v i n g as d i e d .
�Boa Viagem
(19 81)
somewhere i n w h a t i s s a i d
l i e s the d i f f i c u l t t r u t h bushlike
and b u r n i n g b r i g h t ,
i n tents s i t
t h e o l d c o f f e e p o t s making t h e i r
own
lament as t h e dunes l i f t and
move f r o m one génération rounded
i n t o the next,
t h e babies l e a r n i n g
a new page when o l d e r b a b i e s l e a r n t
how t o make c o f f e e i n t h e p o t .
g a z i n g t h e dawn l i g h t o n l y
Isit
just
when w h i t e w i n g s u n f o l d f r o m y e s t e r d a y s
dusk,
t h e drone h i g h above reaches
my e a r s , w h i s t l e a t h i n c l o u a o f gas t h e
innings' o f t h i s sleeping n a t i o n ,
threatens the
s t r i n g e d l i n e o f s u r v i v a l i f man cannot make o u t
i n t h e t r u e l i g h t o f day t h e b l a c k
from i t s s i s t e r w h i t e .
thread
I s i t watching
b i n e w a t e r s l a p p i n g a t my f e e t w i t h
t h e deep,
thunder
now i d e n t i f i e d n o t as god n o r t h e k e e p e r
o f e a r t h l y kingdoms,
h i s myth r i p p e d by
new f e a r s daggered we b l i n d l y unsheath.
came t h a t w o r d s h o u l d précède,
I f word
our fears
f i n d i n g w o r d i n f e a r , bound i n words
a new f e a r o f fears y e t t o corne,
muted upon a heap.
Isit
The s k e l e t o n s move
h i g h on t h e h i l l where h i s ' t e m p l e
grew,
p a s t p e o p l e t a k i n g t h e i r dreams w i t h them,
�choke a l a u g h t e r t h a t s o f t l y t u r n s t o weep.
And
t h e houses o b e y i n g new n e c e s s i t i e s and h o u s i n g
s t i l l o l d e r ones, I s t r a n g e l y gaze upon
t h e f e a r handed down f r o m mound t o keep.
men
w i t h b a r e hands t h e i r own gods t h e y do k i l l ,
•so t h e sand r o c k s c l e f t r e v e a l ,
and t h e
l e t t e r i n g s o f s m a l l wander do b u i l t upon
exploding
dreams f r o m mouth t o mouth echo
t h e h e a l i n g o f f e a r s and f e a r s y e t t o h e a l .
stretches h i l l o c k s
d i v i d e d by my countrymen,
each w i t h a s t r a n g e h a t , l i f t y o u r
The l a n d
citizens
tailend
t o o t h e r t a i l e n d s g l a s s y eyed t h e c i r c l e
w i t h glass brims s e r v i n g t o l i e ,
t o u c h i n g hands where h e a r t s
hands
f a i l e d t o meet.
The c o f f e e p o t g u r g l e s t h e b a b i e s c r y r e m i n d
t h e messenger t o gaze upon t h e message he
t h e f i n e s c r i p t tempted i n t o t r u t h t o r e a d , t h e drone
h i g h above a n o t h e r f i n e message i f n o t wary t o heed.
�BLANK PAGE
�50
As ilustraçôes aparecem em decorrencia de:
Claire Dorland
de
Paris, France
Miguel Coelho
de
Niteroi, Brasil.
Pam Dan
de.
Wivenhoe, England.
Romero Cavalcanti
de
Rio de Janeiro, Brasil.
Leonardo da Vinci
de
The National Muséum of Science and leenjioT
Milan, Italy.
.
�51
A n t o i n e F. K h a t e r , p r o f e s s o r de Pôs-Graduaçâo da
U n i v e r s i d a d e Fédéral Fluminense, nasceu no L i b a n o ,
em 1948. Estudou numa e s c o l a i n g l e s a , de Quakers,
a Broumana High School.
I n i c i o u sua formaçao universitâria na I n g l a t e r r a ,
graduando-se em 1968, na U n i v e r s i d a d e de Essex,
onde f o i a g r a c i a d o corn b o i s a p a r a o c u r s o de PôsGraduaçao. Em J a n e i r o de 1972 e r a Ph.D em Fîsica
Teôrica.
F o i P r o f e s s o r A d j u n t o do Departamento de Fîsica
na Faculté des S c i e n c e s , Université L i b a n a i s e ,
em B e i r u t , de 1972 a 1976.
Em j u n h o de 1976, d e i x o u o Lîbano rumo a P a r i s .
Em
J a n e i r o de 1977, r e g r e s s o u a Essex oomo P r o f e s s o r
Visitante.
No verâo de 1977 f o i homenageado como C i e n t i s t a ,
no C e n t r o I n t e r n a c i o n a l de Fîsica Teôrica, p e l a
Academia N a c i o n a l da Itâlia e p e l a Sociedade R e a l
Britânica.
Desde 1978 tem l e c i o n a d o na U.F.F., no I n s t i t u t o de
Fîsica, onde deu inïcio a um p r o j e t o de e n e r g i a
solar.
Tem p u b l i c a d o suas p e s g u i s a s na ârea de Fîsica do
Estado SÔlido, em r e v i s t a s i n t e r n a c i o n a i s .
Assume a experiência literâria, r e g i s t r a n d o suas
reaçôes d i a n t e da v i d a , do amor e da m o r t e , de uma
forma lïrica.
Sua ciência n â c interfère na sua p o e s i a .
0 c i e n t i s t a r a c i o n a l cède l u g a r a persona,
cria literatura.
guando
Sua o r i g i n a l i d a d e réside em desvendar o t r a n s c e n d e n t a l
do c o t i d i a n o , numa linguagem u n i v e r s a i , i n c o r p o r a n d o
as modernas técnicas de t r a t a m e n t o ao t e x t o poético.
�0 tempo présente, p a r a e l e , é o tempo e t e r n o .
Faz
de s e u s poemas um a t o d e v i d a , h a r m o n i z a n d o o a n t i g o
mundo d e o n d e v e m , com o m o d e r n o , oom o q u a i e l e
convive agora.
Seu s e n t i m e n t o d e h u m a n i d a d e s u p e r a um n a c i o n a l i s m o
irracional e limitador.
Contrôla s u a s i n c e r t e z a s
com a consciência d a Histôria, c e r t o d e q u e e l a s e
a c r e s c e n t a a cada i n s t a n t e , e na humanidade da q u a i ,
e l e c o n f i a plenamente.
D a î , a força d a crença n a
missâo d o p e n s a d o r .
C o l o c a s u a c i e n c i a a serviço
do homem e d a p a z . E s c r e v e a s u a p o e s i a p a r a e s c a p a r do a b s u r d o ao s e u r e d o r , c o n s e r v a n d o , i n t a c t a ,
sua p r o f u n d a s e n s i b i l i d a d e .
Ë o " g i v e r " , d e s p o j a d o d e s i mesmo, em c u j o s
s i m p l e s , sô o e s s e n c i a l ë p e r m i t i d o .
hâbitos
The Arcade.Memoirs
n o s a p r e s e n t a uma visâo poética
q u e s i n t e t i z a s u a s vivências n o s d i f e r e n t e s l u g a r e s
o n d e v i v e u , amou e s o f r e u .
A n t o i n e F. K h a t e r é um g r a n d e p o e t a , C o n v i v e n d o com
o trâgico e o cômico com o mesmo e n t u s i a s m o , jâ s i t u a
s e d e n t r e o s m a i s e x p r e s s i v o s a u t o r e s d o século v i n t e
S e l m a C. D. M o n t e i r o
T e r e z a M, d e O l i v e i r a
Lima
�S O M Â R I
0
PREFÂCIO
.
'
PREFACE
5
10
c o u n t r y w a l k i n England
(Essex 19 70)
17
d e a t h w i s h t o o (Essex 19 70)
18
relationship
19
(Essex 19 70)
Barbara's f a t h e r d i e s
r e l a t i o n s h i p ends
(Essex 1971)
20
(Essex 19 71)
f r o m London t o Athens
21
(19 75)
22
The c i v i l war ( B e i r u t 19 76)
24
waiting
25
( B e i r u t 19 76)
l e a v i n g home i n t h e c i v i l war ( B e i r u t 1976)
26
police registration
28
Paris
( P a r i s 19 76)
sud (1976) .
déménagement
29
( P a r i s 19 76)
s o u t h o f France
30
(1976)
31
S t . Lazare r a i l w a y s t a t i o n ( P a r i s 19 76)
Sunday w a l k w i t h Herma, N a t h a l i e ,
woods
32
Malte, i n Friday
(Essex 1977)
33
one day i n t h e l i f e o f a u n i v e r s i t y teacher(Niterôil978)
35
t h e n i g h t j o u r n e y Sâo Paulo t o R i o
36
(1978)
r e f l e c t i o n f r o m rny baywindow i n Niterôi (19 79)
f a t h e r and mother i n Copacabana
the marriage
(Niterôi 1980)
cinemalandia
( R i o 19 80)
Claire
(19 80)
38
40
41
(Rio 19 80)
Picasso
37
42
(Niterôi 1980)
"
43
y e s t e r d a y s m a t t e r when i t ' s gone (1971-1980)
44
Tamandaré ( R e c i f e
45
the r u l e s
Boa Viagem
1980)
(Rio 19 81)(1981)
.
•-
46
47
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
KCLDS Archive Reference Book Collection
Subject
The topic of the resource
Books
Arabic literature
Arabs-United States
Description
An account of the resource
<h4>Biographical/Historical note</h4>
<p><span style="font-weight:400;">The publications included in this collection are related to the global Lebanese diaspora. Noteworthy authors in the KCLDS Archive Reference Book Collection include Nagib T. Abdou, Antoine F. Khater, Salloum Mokarzel, Mikhail Asad Rustum, Ameen Rihani, Salom Rizk, and more. Publishers include </span><span style="font-weight:400;">Jaridat al-Ayyam Press</span><span style="font-weight:400;"> and the </span><span style="font-weight:400;">Syrian-American Press. Also included are self-published biographies, autobiographies, and memoirs of Lebanese Americans.</span></p>
<h4>Scope/Contents Note</h4>
<p>The KCLDS Archive Reference Book Collection contains books and publications held by the KCLDS Archive.</p>
<p>The publications include Arabic, English, Spanish, and French titles ranging in publication date from 1895 to the twenty-first century.</p>
<p>Materials in Arabic are fully searchable <span>on the Khayrallah Center's </span><a href="https://arabicsearch.org/" target="_blank" rel="noreferrer noopener">Arabic Newspapers database</a><span>.</span></p>
<p>To search the database and index created by the Khayrallah Center from The Syrian Business Directory by Salloum Mokarzel and H.F. Otash, see <a href="https://lebanesestudies.ncsu.edu/explore/databases/business-directory/" target="_blank" rel="noreferrer noopener">here</a>.</p>
Publisher
An entity responsible for making the resource available
Moise A. Khayrallah Center for Lebanese Diaspora Studies
Date
A point or period of time associated with an event in the lifecycle of the resource
1895-2023
Rights
Information about rights held in and over the resource
The Khayrallah Center claims only physical ownership of the materials. Due to the nature of archival collections, information about copyright and rights ownership in the materials may be difficult to find despite reasonable efforts. Nonexclusive right to authorize uses of these materials for non-commercial research, scholarly, or other educational purposes are granted to Khayrallah Center pursuant to U.S. Copyright Law. Usage of the materials for these purposes must be fully credited with the source. The user assumes full responsibility for any use of the materials.
Language
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English
Arabic
Spanish
French
Identifier
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GR 0001
Access Rights
Information about who can access the resource or an indication of its security status. Access Rights may include information regarding access or restrictions based on privacy, security, or other policies.
Digital material in this collection is provided here for non-commercial research, scholarly, or other educational purposes pursuant to U.S. Copyright Law.
Physical material in this collection is also available to researchers. For questions or to access a collection, please contact us at kcldsarchive@ncsu.edu. Please give at least 48 hours for responses to any inquiries regarding the materials.
Table Of Contents
A list of subunits of the resource.
<ul>
<li>VI Festival International de Baalbeck [Sixth Ballbeck International Festival] - French</li>
<li>Abe, Son of Abraham: Stories, Vignettes, Remembrances, Reflections, Thoughts, & Tributes by Abe J. Bassett - English</li>
<li>The Arcade Memoirs: Selected Poems 1970-1980 by Antoine F. Khater - English, Portuguese</li>
<li>The Best of South Louisiana Cooking by Bootsie John Landry - English</li>
<li>The Book of Khalid by Ameen Rihani - English</li>
<li>Diwan al-Ghareeb fi al-Gharb, ديوان الغريب في الغرب الجزء الثاني [Strangers in the West: The Trip of Mikhail Asad Rustum to America, Part 2 Excerpt from the 3rd Edition] by Mikhail Asad Rustum - Arabic</li>
<li>Dr. Abdou's Travels in America by Dr. Nagib T. Abdou - Arabic, English</li>
<li>Dr. Ma Haide (George Hatem) by Various Authors - English, Chinese</li>
<li>Elias' Modern Dictionary, English Arabic by Elias A. Elias - English, Arabic</li>
<li>Faris Saleem Malouf (1892-1958), A Voice in the Dark: One Man's Arab American Activism by Charles Malouf Samaha - English</li>
<li>The First One Hundred Years in America: Recollections of a Lebanese-American Grandson by Norman J. Hobbie - English</li>
<li>The First One Hundred Years in America: Other Voices by Norman J. Hobbie - English</li>
<li>Food from Biblical Lands: A Culinary Trip to the Land of Bible History by Helen Corey - English</li>
<li>From Mt. Lebanon to the Mohawk Valley: The Story of Syro-Lebanese Americans of the Utica Area by John G. Moses - English</li>
<li>"Growing an American Tradition" Booklet by Mt. Olive - English</li>
<li>The Heart of Cortland: The Life of Jim Yaman by Molly Yaman - English</li>
<li>History of the Maronite Catholic Church in the United States, Volume I: The Clergy by Evelyn Karam Small, Randa Gemayel Hakim, and Joseph John Soma - English</li>
<li>The History of Syrian Trade in America by Salloum Mokarzel - Arabic</li>
<li>Les Hobeiche: A Travers L'Histoire by Khalil R. Hobeiche - French, Arabic</li>
<li>How the Lebanese Advanced Civilization by John G. Moses - English</li>
<li>Al-Jundi Al-Suri fi Thalath Horoub [The Syrian Soldier in Three Wars] by Gabriel Elias Ward - Arabic</li>
<li>Kisses from a Distance by Raff Ellis - English</li>
<li>Kitab al-Ghareeb fi al-Gharb, كتاب الغريب في الغرب [Strangers in the West: The Trip of Mikhail Asad Rustum to America, 1885-1895] by Mikhail Asad Rustum - Arabic</li>
<li>Kitab Qatf Ql-Zuhur Fi Tarikh Al-Duhur by Yuhanna Ibkarius [Abkariyus] - Arabic</li>
<li>The Lebanese in America by John G. Moses - English</li>
<li>"The Lebanese Texans and the Syrian Texans" Booklet by James Patrick McGuire - English</li>
<li>Letters to My Son: An Immigrant's Saga by George Nicolas El-Hage - English, Arabic</li>
<li>Library of the Biography of Luminaries, خزانة الأيام في ترجمة العظام by Joseph N. Maloof - Arabic</li>
<li>Medicine and Commerce "Illustrated": Two Books in One Volume by Dr. Nagib T. Abdou - Arabic, English</li>
<li>Memories of Rahija by Abe J. Bassett - English</li>
<li>Monsoura by John Louis Toukatly - English</li>
<li>Mt. Lebanon to Vermont by George Haddad - English</li>
<li>"My Life in Pictures" Booklet by Ethel Wright Mohamed - English</li>
<li>The Naders by Jan Colvert - English</li>
<li>New Old Country: A Memoir by Ramsey Esper and Carolynne M. Ayoub - English</li>
<li>Orphans of War by Bearta Powell - English</li>
<li>Saleeby-Saliba Worldwide Family by Callie R. Saleeby Stanley - English</li>
<li>Secretos de familia: Libaneses y élites empresariales en Yucatán [Family Secrets: Lebanese and Business Elites in Yucatan] by Luis Alfonso Ramírez - Spanish</li>
<li>The Syrian Business Directory: First Edition 1908-1909 by Salloum Mokarzel and H.F. Otash - Arabic, English</li>
<li>Syrian Yankee by Salom Rizk - English</li>
<li>"To Live in Hearts we Leave Behind is not to Die": Lebanese Voices of North Carolina by John Blythe - English</li>
<li>Under Syrian Stars by Rahme Haidar - English</li>
<li>Until the Hour of Separation: The Sargus Family in America by Jane Sargus - English</li>
<li>A View of Our Past: Georgetown, South Carolina c. 1890-1915 by Georgetown County Library System - English</li>
</ul>
Document
A resource containing textual data. Note that facsimiles or images of texts are still of the genre text.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Arcade Memoirs: Selected Poems 1970-1980
Subject
The topic of the resource
Poetry
Description
An account of the resource
<p><em>The Arcade Memoirs: Selected Poems 1970-1980</em> was the first collection of poems written by Antoine F. Khater. Published in Brazil, the poems center on Khater's experience of the Lebanese Civil War and his eventual immigration to Brazil.</p>
<p>The poems describe time spent in Essex, London, Beirut, Paris, and various Brazilian cities including Rio de Janeiro and Niteroi. Subjects of the poems include interpersonal relations and the complex emotions experienced by the poet upon leaving Lebanon.</p>
Creator
An entity primarily responsible for making the resource
Antoine F. Khater
Source
A related resource from which the described resource is derived
Antoine F. Khater
Publisher
An entity responsible for making the resource available
Moise A. Khayrallah Center for Lebanese Diaspora Studies
Date
A point or period of time associated with an event in the lifecycle of the resource
1981
Contributor
An entity responsible for making contributions to the resource
Selma C.D. Monteiro and Tereza M. de Oliveira Lima, preface
Includes illustrations by: Claire Dorland, Miguel Coelho, Pam Dan, Romero Cavalcanti, and Leonardo da Vinco.
Rights
Information about rights held in and over the resource
The donor retains full ownership of any copyright and rights currently controlled. Nonexclusive right to authorize uses of these materials for non-commercial research, scholarly, or other educational purposes are granted to Khayrallah Center pursuant to U.S. Copyright Law. Usage of the materials for these purposes must be fully credited with the source. The user assumes full responsibility for any use of the materials.
Format
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Text/pdf
Language
A language of the resource
English
Portuguese
Type
The nature or genre of the resource
Text
Identifier
An unambiguous reference to the resource within a given context
khater_thearcadememoirs_1981
1980s
Brazil
England
France
Lebanese Civil War
Lebanon
Literature