What We Are Reading Today: All the World on a Page

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Updated 25 April 2025
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What We Are Reading Today: All the World on a Page

  • “All the World on a Page” gathers 34 poems, written between 1907 and 2022, presenting each poem in the original Russian and an English translation, accompanied by an essay that places the poem in its cultural, historical, and biographical contexts

Author: Andrew Kahn and Mark Lipovetsky

The Russian cultural tradition treats poetry as the supreme artistic form, with Alexander Pushkin as its national hero. Modern Russian lyric poets, often on the right side of history but the wrong side of their country’s politics, have engaged intensely with subjectivity, aesthetic movements, ideology (usually subversive), and literature itself. 

“All the World on a Page” gathers 34 poems, written between 1907 and 2022, presenting each poem in the original Russian and an English translation, accompanied by an essay that places the poem in its cultural, historical, and biographical contexts.

The poems, both canonical and lesser-known works, extend across a range of moods and scenes: Velimir Khlebnikov’s Futurist revolutionary prophecy, Anna Akhmatova’s lyric cycle about poetic inspiration, Vladimir Nabokov’s Symbolist erotic dreamworld, and Joseph Brodsky’s pastiche of a Chekhovian play set on a country estate.

 

 


What We Are Reading Today: ‘Rituals of War’

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Updated 29 December 2025
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What We Are Reading Today: ‘Rituals of War’

  • Bahrani brings together and analyzes facets of war and sovereign power that fall under the categories of representation and display, the aesthetic, the ritualistic, and the supernatural

Author: Zainab Bahrani

“Rituals of War” is an investigation into the earliest historical records of violence and biopolitics. In Mesopotamia, ancient Iraq (ca. 3000–500 BC) rituals of war and images of violence constituted part of the magical technologies of warfare that formed the underlying irrational processes of war. In the book, three lines of inquiry are converged into one historical domain of violence, namely, war, the body, and representation.

Building on Foucault’s argument in “Discipline and Punish” that the art of punishing must rest on a whole technology of representation, Zainab Bahrani investigates the ancient Mesopotamian record to reveal how that culture relied on the portrayal of violence and control as part of the mechanics of warfare. Moreover she takes up the more recent arguments of Giorgio Agamben on sovereign power and biopolitic to focus on the relationship of power, the body and violence in Assyro-Babylonian texts and monuments of war.

Bahrani brings together and analyzes facets of war and sovereign power that fall under the categories of representation and display, the aesthetic, the ritualistic, and the supernatural.