{"id":439,"date":"2019-04-14T22:52:37","date_gmt":"2019-04-15T02:52:37","guid":{"rendered":"https:\/\/sites.smith.edu\/metamorphoses\/?page_id=439"},"modified":"2019-07-11T11:07:42","modified_gmt":"2019-07-11T15:07:42","slug":"itc-l","status":"publish","type":"page","link":"https:\/\/sites.smith.edu\/metamorphoses\/indexes\/itc-l\/","title":{"rendered":"ITC L"},"content":{"rendered":"

Lagny, Isabelle. (Arabic to French) Salah Al-Hamdani, “Baghdad.” 19:1-2<\/a>, 155.
\n—(Arabic to French) Al-Hamdani, “XIITH View: Red Mourning.” 19:1-2<\/a>, 157.
\n—(Arabic to French) Al-Hamdani, “A Day in Childhood, Intensely.” 19:1-2<\/a>, 159.
\n—(Arabic to French) Al-Hamdani, “The Beacon of Makeshift Houses.” 19:1-2<\/a>, 158.
\n—(Arabic to French) Al-Hamdani, “The City of Sand.” 19:1-2<\/a>, 160.
\n—(Arabic to French) Al-Hamdani, “If One of Us Died?” 19:1-2<\/a>, 162.
\n—(Arabic to French) Al-Hamdani, “A Homeland.” 19:1-2<\/a>, 165.
\n—(Arabic to French) Al-Hamdani, “The Necrologist.” 19:1-2<\/a>, 164.<\/p>\n

Laher, Suheil. (Arabic) ‘Abdullah Ibn Al-Mu’Tazz, “Untitled, from\u00a0Tabaqat Al-Shu’ Ara’ Al-Muhdahtin<\/em>.” 15:1-2<\/a>, 38.<\/p>\n

Lake, Joseph. (Russian) Pavel Grigoryuk, “Excerpt from the Autobiography of Pavel Grigoryuk.” 1:2<\/a>, 51.<\/p>\n

Lang, Andrew (and H.S. Butcher). (Greek) Homer,\u00a0Odyssey<\/em>, Book V, lines 291-299. 6:2<\/a>, 131.
\n—(and Butcher). (Greek) Homer,\u00a0Odyssey<\/em>, Book X, lines 210-224. 6:2<\/a>, 138.
\n—(and Butcher). (Greek) Homer,\u00a0Odyssey<\/em>, Book XI, lines 204-214. 6:2<\/a>, 146.<\/p>\n

Lansford, Ingrid. (Danish) Meir Aron Goldschmidt, “A Tale About a Fly.” 13:1<\/a>, 268.
\n—(Danish) Jan Sonnergard, “Bankrupt.” 13:2<\/a>, 93.
\n—(Danish) Sonnergard, “Down to the Lake with Flemming and His Pump Gun.” 16:1<\/a>, 18.
\n—(German) Wolfdietrich Schnurre, “Pulling Up Fish Traps.” 16:1<\/a>, 35.
\n—(Danish) Goldschmidt, “Sidi-El-Barduk and Zuleima (From\u00a0Love Stories from Many Lands<\/em>).” 16:1<\/a>, 257.
\n—(Danish) Lief Panduro, “A Ride in the Night.” 16:2<\/a>, 96.
\n—(German) Schnurre, “The Monastery.” 17:2<\/a>, 108.
\n—(German) Keto Von Waberer, “High Fashion.” 17:2<\/a>, 113.
\n—(Danish) Sonnergaard, “Stag Party.” 18:1<\/a>, 67.
\n—(German) Keto Von Waberer, “Rain.” 18:1<\/a>, 75.
\n—(Danish) Meir Aron Goldschmidt, “Under a Spell II.” 18:1<\/a>, 196.
\n—(German) Siegfried Lenz, “The Mystery Guests.” 18:2<\/a>, 181.<\/p>\n

\u00a0 —(German) Von Waberer, \u201cMardi Gras.\u201d 20:1<\/a>, 187.<\/p>\n

\u00a0 —(Danish) Sonnergaard, “Fruit Flies.” 20:1<\/a>, 245.<\/p>\n

\u00a0 —(Danish) Peter Seeberg, “The Boy in the Front Seat.” 20:1<\/a>, 254.
\n—(Danish) Goldschmidt, “Under a Spell I: A Legend Retold.” 20:2<\/a>, 155.
\n—(Danish) Sonnergaard, “Do You Believe in Life After Love?” 20:2<\/a>, 166.
\n—(Danish) Ib Michael, “Shadow Sharks.” 21:2<\/a>, 168.
\n—(German) Wolfdietrich Schnurre, “The Return.” 21:2<\/a>, 243.
\n—“Review: Niels Frank,\u00a0Picture World<\/em>.” 21:2<\/a>, 305.
\n—(German) Peter Rosei, “Story.” 23:1<\/a>, 22.
\n—(German) J\u00c3\u00bcrgen Becker, “Andrew Wyeth Paints a Sound.” 23:1<\/a>, 138.
\n—(Danish) Meir Aron Goldschmidt, “Henry Cecil and Sarah.” 23:1<\/a>, 160.
\n—(Danish) Vita Andersen, “Friday.” 23:2<\/a>, 140.
\n—(Danish) Vita Andersen, “Saturday.” 23:2<\/a> 140.
\n—(Danish) Andersen, “Sunday.” 23:2<\/a>, 142.
\n—(Danish) Seeberg, “Train Ride to Ribe, August 1957.” 25:1<\/a>, 130..
\n—(Danish) Sonnergaard, “Eva and Strudensen L’Espace, Constructeur D’Une Culture Europ\u00e9enne.” 25:1<\/a> 151.<\/p>\n

Larkosh, Christopher. (Portuguese) Joao Gilberto Noll, “Two Stories from the Collection A maquino de ser<\/em>.” 24:1-2<\/a>, 227.
\n—“The Fictions of Joao Gilberto Noll: Antidotes for Identity, Remedies for Reality.” 24:1-2<\/a>, 234<\/p>\n

Lasker, Carrol. (Afrikaans) Adam Small, “The Minister.” 10:1<\/a>, 337.
\n—(Afrikaans) Small, “Latterday Leadership: A Comission of Inquiry Into Separate But Equal Facilities.” 10:1<\/a>, 337.
\n—(Afrikaans) Small, “Sideshow.” 10:1<\/a>, 339.
\n—(Afrikaans) Small, “On New Year’s Eve.” 10:1<\/a>, 345.
\n—(Afrikaans) Small, “What Now?” 10:1<\/a>, 347.
\n—(Afrikaans) Small, “From Here to Eternity.” 10:1<\/a>, 349.
\n—(Afrikaans) Small, “The Hoodlum Gives Thanks.” 10:1<\/a>, 351.
\n—(Afrikaans) Small, “Apocalypse.” 10:1<\/a>, 353.
\n—(Afrikaans) Small, “Moonless Night.” 10:1<\/a>, 353.
\n—(Afrikaans) Small, “Big Business.” 10:1<\/a>, 355.
\n—(Afrikaans) Small, “Nkosi Sikelel i Afrika.” 10:1<\/a>, 357.
\n—(Afrikaans) Small, “Ezekiel.” 10:1<\/a>, 359.
\n—“Olga Kirsch: Ghosts, Memories, Echoes.” 11:2<\/a>, 44.
\n—(Afrikaans) Olga Kirsch, “Five Sonnets To My Father.” 11:2<\/a>, 47.
\n—(Afrikaans) Small, “Chapter One from the novel\u00a0Heidesse (Heath <\/em>Bay)<\/em>.” 13:2<\/a>, 48.<\/p>\n

Lass, Roger. “Translator’s Introduction to\u00a0The Seafarer<\/em>.” 23:2<\/a>, 18.<\/p>\n

\u00a0 —(Old English). “The Seafarer.” 23:2<\/a>, 22.<\/p>\n

Lattimore, Richard. (Greek) Homer,\u00a0Odyssey<\/em>, Book X, lines 210-224. 6:2<\/a>, 140.
\n—(Greek) Homer,\u00a0Odyssey<\/em>, Book XI, lines 204-214. 6:2<\/a>, 147.<\/p>\n

L\u00e1zaro, Reyes. “Introduction to the Words and Worlds Double Issue.” 12:1-2<\/a>, 22.
\n—(with Dan Murphy). (Spanish) Bernardo Atxaga, “Confession.” 12:1-2<\/a>, 52.
\n—(with Sarah Moon). (Basque) Atxaga, “The Death and Life of Words.” 12:1-2<\/a>, 60.
\n—(English into Spanish) Ferida Durakovic, “From the\u00a0Textbook of Slavic Mythology<\/em>.” 12:1-2<\/a>, 102.
\n—(English into Spanish) Durakovic, “Georg Trakl on the Battlefield Revisited, 1993.” 12:1-2<\/a>, 104.
\n—(English into Spanish) Durakovic, “It’s April.” 12:1-2<\/a>, 109.
\n—(with Moon). (Spanish) Tere Irastortza, “Untitled.” 12:1-2<\/a>, 135.
\n—(with Moon). (Spanish) Irastortza, “Untitled.” 12:1-2<\/a>, 138.
\n—(with Thalia Pandiri). “Introduction to Manifesto Against Silence.” 12:1-2<\/a>, 169.
\n—(with Moon and Pandiri). (French) Aurelia Arkotxa, “Just Like Aldous Huxley’s Prophecy.” 12:1-2<\/a>, 171.
\n—(with Moon and Pandiri). (Galician) Manuel Rivas, “Manifesto Against Silence.” 12:1-2<\/a>, 174.
\n—(with Moon). (Portuguese) Joseba Sarrionandia, “Message for Bernardo Atxaga.” 12:1-2<\/a>, 190.
\n—(Basque) Sarrionandia, “A Pile of Worn-Out Shoes.” 12:1-2<\/a>, 192.
\n—(Spanish) (with Leora Fridman, Robert Kaplan, and Marina Kaplan) Aldo Pellegrini, “System of Discipline.” 20:2<\/a>, 52.
\n—(Spanish) (with Fridman, R. Kaplan, and M. Kaplan) Pellegrini, “Someone Waking Up.” 20:2<\/a>, 52.
\n—(Spanish) (with Fridman, R. Kaplan, and M. Kaplan) Pellegrini, “Need for the Adding Machine.” 20:2<\/a>, 54.
\n—(Spanish) (with Fridman, R. Kaplan, and M. Kaplan) Pellegrini, “The Heart of all Faces.” 20:2<\/a>, 56.
\n—(Spanish) (with Fridman, R. Kaplan, and M. Kaplan) Pellegrini, “One More Show.” 20:2<\/a>, 58.<\/p>\n

Lee, John B. and Michael J. Lee. (Greek) Homer, from \u201cBook I of Homer\u2019s Odyssey<\/em>.\u201d 20:1<\/a>, 135.<\/p>\n

Leete, Elizabeth B. (French) Guillaume Apollinaire, “The Mirabeau Bridge.” 4:1<\/a>, 90.
\n—(French) Marcel Bourquin, “A Love Letter.” 4:1<\/a>, 92.<\/p>\n

Lehnen, Leila. (Portuguese) Marcal Aquino, “The Precise Distance from the Vulva to the Heart.” 24:1-2<\/a>, 48.<\/p>\n

Leong, Michael. (Spanish) Estela Lamat, “How to Make a Corner.” 17:1<\/a>, 110.
\n—(Spanish) Lamat, “La Llorona<\/em>, I Endure for the Purpose of Crying.” 17:1<\/a>, 112.<\/p>\n

Lesser, Rika. (Swedish) “Gunner Ekel\u00f6f’s ‘Helvetes-Brueghel.'” 4:1<\/a>, 106.
\n—(Swedish) Goran Sonnevi, poems. 8:1<\/a>, 168.<\/p>\n

Levens, Lance. (French) Jean de la Cepp\u00e8de, “Book I Sonnet #23.” 20:2<\/a>, 48.
\n—(French) la Cepp\u00e8de, “Book III Sonnet #85.” 20:2<\/a>, 48.<\/p>\n

Levin, Dan. (Russian) Bella Vernikova, “On Seeing an Exhibition of Paintings by Sinitzky.” 7:1<\/a>, 50.
\n—(Russian) Vernikova, “City.” 7:1<\/a>, 52.
\n—(Russian) Vernikova, “Around the Summer Table.” 7:1<\/a>, 54.
\n—“Letter to Laszlo Tikos.” 9:2<\/a>, 151.<\/p>\n

Levin, Lynn (with Odi Gonzales). (Spanish) Odi Gonzales, \u201cApprentice Painters.\u201d 20:1<\/a>, 25.
\n—(Spanish) \u201cGod Shows Paradise to Adam and Eve.\u201d 20:1<\/a>, 31.
\n—(Spanish) \u201cThe Prodigal Son.\u201d 20:1<\/a>, 35.<\/p>\n

Levitin, Alexis. (Portuguese) Eugenio de Andrade, poems. 3:1<\/a>, 118.
\n—(Portuguese) de Andrade, poems. 4:1<\/a>, 80.
\n—(Portuguese) Alberto de Lacerda, “Five Poems by Alberto de Lacerda.” 4:2<\/a>, 90.
\n—(Portuguese) Irene Lisboa, poems. 6:1<\/a>, 82.
\n—(Portuguese) “Sonnets from the Portuguese.” 7:1<\/a>, 129.
\n—(Portuguese) Fiama Pais Brand\u00e3o, poems. 8:2<\/a>, 112.
\n—(Portuguese) Rosa Alice Branco, poems. 9:2<\/a>, 48.
\n—(Portuguese) Carlos de Oliveira. “Estalactite” 10:2<\/a>, 144.
\n—(Portuguese) Sophia de Mello Breyner Andrese, “Cultural Activist.” 13:2<\/a>, 58.
\n—(Portuguese) Andrese, “Balcones.” 13:2<\/a>, 58.
\n—(Portuguese) Andrese, “The Infante.” 13:2<\/a>, 60.
\n—(Portuguese) Andrese, “Eyes.” 13:2<\/a>, 60.
\n—(Portuguese) Andrese, “The Poem and the House.” 13:2<\/a>, 62.
\n—(Portuguese) Gast\u00e3o Cruz, “The Swimmer.” 16:1<\/a>, 160.
\n—(Portuguese) Cruz, “Song of Waves.” 16:1<\/a>, 160.
\n—(Portuguese) Cruz, “A Chripling of Birds in the Lagoon.” 16:1<\/a>, 162.
\n—(Portuguese) Cruz, “The Four Seasons.” 16:1<\/a>, 164.
\n—(Portuguese) Cruz, “Distance.” 16:1<\/a>, 164.
\n—(Portuguese) Cruz, “Cool Lemons.” 16:1<\/a>, 166.
\n—(Portuguese) Cruz, “Two Orchards (Estoi).” 16:1<\/a>, 166.
\n—(Portuguese) Cruz, “Algarve.” 16:1<\/a>, 168.
\n—(Portuguese) Cruz, “Song.” 16:1<\/a>, 170.
\n—(Portuguese) Cruz, “Clouds.” 16:1<\/a>, 170.
\n—(Portuguese) Cruz, “When the Sun Comes Up.” 16:1<\/a>, 170.
\n—(Portuguese) Cruz, “Boats on the Lagoon.” 16:1<\/a>, 172.
\n—(Portuguese) Astrid Cabral, “River of Yesteryear.” 17:2<\/a>, 32.
\n—(Portuguese) Cabral, “First Mirror.” 17:2<\/a>, 36.<\/p>\n

—(Portuguese) Cabral, “Between Gardens.” 27:1<\/a>, 14.<\/p>\n

—(Portuguese) Cabral, “They and We.” 27:1<\/a>, 14.<\/p>\n

—(Portuguese) Astrid Cabral, “Between Gardens.” 27:1<\/a>, 15.<\/p>\n

—(Portuguese) Cabral, “Vision.” 27:1<\/a>, 16.<\/p>\n

—(Portuguese) Astrid Cabral, “Between Gardens.” 27:1<\/a>, 14.<\/p>\n

—(Portuguese) Leonor Scliar-Cabral, “Ketonet Passim.” 27:1<\/a>, 22.<\/p>\n

—(Portuguese) Scliar-Cabral, “Joseph’s Dreams I.” 27:1<\/a>, 24.<\/p>\n

—(Portuguese) Scliar-Cabral, “Joseph’s Dreams II.” 27:1<\/a>, 26.<\/p>\n

—(Portuguese) Scliar-Cabral, “From Hebron to Shechem.” 27:1<\/a>, 28.<\/p>\n

—(Portuguese) Scliar-Cabral, “The Conspiracy.” 27:1<\/a>, 30.<\/p>\n

—(Portuguese) Scliar-Cabral, “The Sacrifice of Judah.” 27:1<\/a>, 32.<\/p>\n

—(Portuguese) Scliar-Cabral, “Make Haste to Jacob.” 27:1<\/a>, 34.<\/p>\n

—(Portuguese) Scliar-Cabral, “Forseeing His Farewell, He Smiles and Cries.” 27:1<\/a>, 36.<\/p>\n

—(Portuguese) Salgado Maranh\u00e3o, “Lagoon.” 18:2<\/a>, 24.
\n—(Portuguese) Maranh\u00e3o, “Of the Sea I.” 18:2<\/a>, 24.
\n—(Portuguese) Maranh\u00e3o, “Ecstasy.” 18:2<\/a>, 26.
\n—(Portuguese) Maranh\u00e3o, “The Swamp.” 18:2<\/a>, 28.
\n—(Portuguese) Maranh\u00e3o, “If, If.” 18:2<\/a>, 30.
\n—(Portuguese) Maranh\u00e3o, “Sparks.” 18:2<\/a>, 30.
\n—(Portuguese) Maranh\u00e3o, “Corollary.” 18:2<\/a>, 32.
\n—(Portuguese) Maranh\u00e3o, “The Bobbin.” 18:2<\/a>, 34.
\n—(Portuguese) Cruz, “Youths at the Entrance to the Chiado.” 20:2<\/a>, 68.
\n—(Portuguese) Cruz, “Under the Sun.” 20:2<\/a>, 70.
\n—(Portuguese) Cruz, “Note.” 20:2<\/a>, 70.
\n—(Portuguese) Cruz, “The Name of that Body.” 20:2<\/a>, 70.
\n—(Portuguese) Cruz, “Ebb Tide.” 20:2<\/a>, 72.
\n—(Portuguese) Cruz, “Task.” 20:2<\/a>, 72.
\n—(Portuguese) Cruz, “Oxymorons for an Absence.” 20:2<\/a>, 74.
\n—(Spanish) Carmen V\u00e1scones, poems. 21:2<\/a>, 100.
\n—(Spanish) Ana Minga, poems. 21:2<\/a>, 104.
\n—(Portuguese) Ruy Belo, “Anniversary Mass.” 23:1<\/a>, 84.
\n—(Portuguese) Ruy Belo, “The Grandeur of Man.” 23:1<\/a>, 86.
\n—(Portuguese) Belo, “Misery and Grandeur.” 23:1<\/a>, 86.
\n—(Portuguese) Maranh\u00e3o, “2 … and to what hands do i dedicate.” 23:2<\/a>, 86.
\n—(Portuguese) Maranh\u00e3o, “4 Beneath the small appeals of this.” 23:2<\/a>, 86.
\n—(Portuguese) Maranh\u00e3o, “Interfaces.” 23:2<\/a>, 88.
\n—(Portuguese) Branco, “27. (They flay rabbits).” 25:1<\/a>, 14.
\n—(Portuguese) Branco, “29. (The men’s hands would graze).” 25:1<\/a>, 14.
\n—(Portuguese) Branco, “36. (In the winter there was no reason).” 25:1<\/a>, 16.
\n—(Portuguese) Branco, “38 (In the summer the rooms).” 25:1<\/a>, 16.
\n—(Portuguese) Branco, “39. (Sometimes it was known).” 25:1<\/a>, 18.
\n—(Portuguese) Branco, “40. (It smelled of immaculate wax).” 25:1<\/a>, 18.
\n—(Portuguese) Branco, “45. (The skylights can blind us).” 25:1<\/a>, 20.
\n—(Portuguese) Maranh\u00e3o, “Lamentation and\/or Verbal Negatives.” 25:1<\/a>, 60.<\/p>\n

Li, Dong. (Chinese) Changming Yuan, “Tongiht I Chant the Scripture.” 25:1<\/a>, 82.
\n—(Chinese) Yuan, “High Voltage.” 25:1<\/a>, 82.<\/p>\n

Li, Dongqiao. (Chinese) Haizi, “To the Bodhisattva on my Neck.” 18:1<\/a>, 18.
\n—(Chinese) Haizi, “In the Vast Grassland, Had a Premonition of the Sea Falling Upon Us.” 18:1<\/a>, 22.<\/p>\n

Liddell, Erik. (French) Gabrielle Emilie Le Tonnelier de Breteuil and Marquise du Chatelet-Lomot, “Discourse on Happiness.” 16:1<\/a>, 274.<\/p>\n

de Lima e Silva, Maria Ivana. “The Wall in the Dark:<\/em> Helplessness in a World in Dissolution in Altair Matin’s Fiction.” 24:1-2<\/a>, 197.<\/p>\n

Lindgren, Joan. (Spanish) Claudio Rodriguez, “Calle Sin Nombre.” 11:2<\/a>, 132.
\n—(Spanish) Claudio Rodriguez, “Los Almendros de Marialba.” 11:2<\/a>, 138.<\/p>\n

Linsky, Amelia. (Italian) Stefano Benni, “Autogrill Horror: The Boy with the Mohawk’s Tale.” 23:2<\/a>, 162.<\/p>\n

Livingstone, Victoria. (Spanish) Alina Diaconu, “Child’s Drawing.” 16:2<\/a>, 198.
\n—(Spanish) Diacon\u00fa, “Violent Buenos Aires.” 16:2<\/a>, 198.
\n—(Spanish) Diacon\u00fa, “Beauty Unaware.” 16:2<\/a>, 200.
\n—(Spanish) Diacon\u00fa, “The Body.” 16:2<\/a>, 202.
\n—(Spanish) Diacon\u00fa, “Gray Matter.” 16:2<\/a>, 202.<\/p>\n

LoBello, Maya J. (Hungarian) N\u00e1ndor Gion, “Chapter Two of the novel Soldier with a Flower<\/em>.” 13:2<\/a>, 226.
\n—“Contextualizing G\u00e9za Sz\u00e1vai’s Novel,\u00a0Aletta’s Ark<\/em>.” 18:2<\/a>, 176.<\/p>\n

Lofgren, E. R. (Japanese) Soseki Natsume, \u201cTo Battle.\u201d 25:2<\/a>, 144.
\n<\/strong><\/p>\n

Loglisci, Nancy R. (English) Donna Pucciani, \u201cMalessere.\u201d 20:1<\/a>, 75.<\/p>\n

London, John. (Catalan) Joan Brossa, poems. 5:2<\/a>, 126.<\/p>\n

Longfellow, Henry Wadsworth. (Italian) Dante Alighieri, “Inferno, Canto I.” 3:1<\/a>, 19.
\n—“From the Sonnet Sequence ‘Divina Commedia.'” 3:1<\/a>, 4.<\/p>\n

Lorenz, Johnny. ((Brazilian) Portuguese) Armindo Trevisan, “The Prodigal Son.” 16:2<\/a>, 158.
\n—((Brazilian) Portuguese) Trevisan, “The Newspaper.” 16:2<\/a>, 160.
\n—((Brazilian) Portuguese) Mario Quintana, “The Map.” 16:2<\/a>, 162.<\/p>\n

Lovelock, Yann and Patrick Williamson. (French) Serge Pey. “Every Poem is a Decapitated Head Held up by a Single Hair.” 16:1<\/a>, 186.<\/p>\n

Lowe, Elizabeth. (Portuguese) Nelson de Oliveira, “Beatrice (Excerpt from Babel Babilonia<\/em>).” 24:1-2<\/a>, 243.<\/p>\n

Lugano, Sau. (Kiswahili) Alamin Mazrui, “Door.” 10:1<\/a>, 119.
\n—(Kiswahili) Mazrui, “Detention.” 10:1<\/a>, 121.
\n—(Kiswahili) Mazrui, “Embrace Me.” 10:1<\/a>, 123.
\n—(Kiswahili) Mazrui, “Which Way Is Ours?” 10:1<\/a>, 125.
\n—(Kiswahili) Mazrui, “I Crossed.” 10:1<\/a>, 127.<\/p>\n

Lyman, Henry. (Estonian) Aleksis Rannit, “Three Poems.” 5:1<\/a>, 44.
\n—(Estonian) Rannit, poems. 6:1<\/a>, 124.<\/p>\n","protected":false},"excerpt":{"rendered":"

Lagny, Isabelle. (Arabic to French) Salah Al-Hamdani, “Baghdad.” 19:1-2, 155. —(Arabic to French) Al-Hamdani, “XIITH View: Red Mourning.” 19:1-2, 157. —(Arabic to French) Al-Hamdani, “A Day in Childhood, Intensely.” 19:1-2, 159. —(Arabic to French) Al-Hamdani, “The Beacon of Makeshift Houses.” 19:1-2, 158. —(Arabic to French) Al-Hamdani, “The City of Sand.” 19:1-2, 160. —(Arabic to French) […]<\/p>\n","protected":false},"author":1791,"featured_media":0,"parent":359,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"orig-auth":[],"auth-translator":[],"class_list":["post-439","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/sites.smith.edu\/metamorphoses\/wp-json\/wp\/v2\/pages\/439","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sites.smith.edu\/metamorphoses\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/sites.smith.edu\/metamorphoses\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/sites.smith.edu\/metamorphoses\/wp-json\/wp\/v2\/users\/1791"}],"replies":[{"embeddable":true,"href":"https:\/\/sites.smith.edu\/metamorphoses\/wp-json\/wp\/v2\/comments?post=439"}],"version-history":[{"count":4,"href":"https:\/\/sites.smith.edu\/metamorphoses\/wp-json\/wp\/v2\/pages\/439\/revisions"}],"predecessor-version":[{"id":1091,"href":"https:\/\/sites.smith.edu\/metamorphoses\/wp-json\/wp\/v2\/pages\/439\/revisions\/1091"}],"up":[{"embeddable":true,"href":"https:\/\/sites.smith.edu\/metamorphoses\/wp-json\/wp\/v2\/pages\/359"}],"wp:attachment":[{"href":"https:\/\/sites.smith.edu\/metamorphoses\/wp-json\/wp\/v2\/media?parent=439"}],"wp:term":[{"taxonomy":"orig-auth","embeddable":true,"href":"https:\/\/sites.smith.edu\/metamorphoses\/wp-json\/wp\/v2\/orig-auth?post=439"},{"taxonomy":"auth-translator","embeddable":true,"href":"https:\/\/sites.smith.edu\/metamorphoses\/wp-json\/wp\/v2\/auth-translator?post=439"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}