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کیا، جو جیسوئٹ اساتذہ کے زیرِ انتظام ایک ممتاز ادارہ تھا۔ یہاں اسے کلاسیکی تعلیم ملی، مگر سخت نظم و ضبط اور جسمانی سزاؤں کے تجربات نے اس کے اندر اختیار اور سزا کے بارے میں گہری حساسیت پیدا کی۔ 1893 میں وہ بیلویڈیئر کالج منتقل ہوا، جہاں اس کی تعلیمی صلاحیتیں پوری طرح نکھر کر سامنے آئیں۔ اسی دور میں اس نے لاطینی اور فرانسیسی زبانیں سیکھیں اور متعدد تعلیمی انعامات حاصل کیے۔ 1899 میں جوائس نے یونیورسٹی کالج ڈبلن میں داخلہ لیا۔ یہاں اس کی فکری دلچسپی ادب، فلسفہ اور جدید یورپی روایت کی طرف گہری ہوتی چلی گئی، اور وہ آئرش قوم پرستی اور روایتی مذہبی بیانیے سے فاصلہ اختیار کرنے لگا۔ اس اثنا میں اس کا تنقیدی مضمون ’’آئبسنز نیو ڈراما‘‘ شائع ہوا، جس سے وہ ایک بااعتماد اور جری نوجوان ناقد کے طور پر ابھرا۔1902 میں جوائس نے پہلی مرتبہ پیرس کا سفر کیا، جہاں اس نے خود کو یورپی ادب اور تہذیب کے قریب محسوس کیا، اگرچہ یہ قیام مختصر رہا۔ 1903 میں اس کی والدہ، میری جین جوائس، کا انتقال ہوا۔ یہ واقعہ اس کی زندگی میں شدید نفسیاتی بحران کا سبب بنا اور چرچ سے اس کا تعلق مزید کمزور ہو گیا۔ 1904 میں جوائس کی 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قسط وار اشاعت روک دی گئی۔ 1922 میں ناول یولیسس پیرس میں کتابی صورت میں شائع ہوا اور جدید ادب کا اہم ترین سنگِ میل تسلیم کیا گیا۔1939 میں جوائس کا سب سے تجرباتی اور لسانی اعتبار سے دقیق ناول ’’فینیگنز وَیک‘‘ شائع ہوا۔جیمز جوائس کا انتقال 13 جنوری 1941 کو زیورخ میں ہوا۔ وہ اس وقت 58 برس کا تھا۔---انور سِن رائے شاعر، ناول نگار، مترجم اور صحافی ہیں۔ ان کی شاعری کے پانچ مجموعے شائع ہو چکے ہیں، جبکہ ’’چیخ‘‘ اور ’’ذلتوں کے اسیر‘‘ کے عنوان سے دو ناول بھی ان کے ادبی سرمائے کا حصہ ہیں۔ تراجم کے میدان میں انھوں نے گیتانجلی شری کے شہرۂ آفاق ناول ’’ریت سمادھی‘‘ کے علاوہ اڈونس، محمود درویش اور پابلو نیرودا کی منتخب نظموں کو اُردو زبان میں منتقل کیا ہے۔ان کا تعلق بہاول نگر سے ہے لیکن پیدا خیرپور ٹامیوالی میں ہوئے۔ ابتدائی بچپن ریاستِ بہاولپور اور پنجاب میں گزرا، اور گیارہ برس کی عمر سے کراچی میں مقیم ہیں۔ 1974ء میں اُردو صحافت کا باقاعدہ آغاز کیا اور بعد ازاں اُردو کے کئی اہم اخبارات سے وابستہ رہے۔ تاہم وہ اپنی صحافتی زندگی میں اُن چار روزناموں (’’قومی اخبار‘‘، ’’پبلک‘‘، ’’امروز‘‘ اور ’’کائنات‘‘)کو 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A hijacked plane lands at Entebbe International Airport in 1976, triggering the crisis that will lead to Idi Amin’s Uganda becoming a pariah state and, within a few years, to the young Nick Makoha’s flight from the country. A mysterious writer daubs poetic slogans on the walls of late-’70s New York City, signing them SAMO©. Three characters who are also one – the Poet, a Black Icarus and a resurrected Jean-Michel Basquiat – journey through a time that is both our own and not, watching TV, discussing art and literature and tucking their wings into their jackets on the way to airport security.Concerned throughout with flight and falling, the sample and the loop, The New Carthaginians is a poetry collection of staggering originality: a work by an author at the height of his powers, in which the familiar Western canons of art, history and philosophy are prised apart and reassembled in a new configuration. 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Through four carefully crafted acts—the collection unpacks the roles we play in our relationships, whether with our parents, our lovers, or even the reflection in our own mirrors.Inspired by the dramatic elements of the stage, the collection features a cast of characters, dialogue, and vivid theater imagery, creating a reading experience that feels both introspective and performative. The poems delve into the ways we perform for others without even realizing it, and how that performance shapes our identities over time. What happens when we strip away the masks we've worn for so long? What truths are left behind when the lights fade and the curtain falls?With themes of mental health, the loss and rediscovery of love, coming-of-age realizations, and the imperfect nature of family, Burning The Ghost Light is for anyone who has ever wrestled with the complexity of being human. 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Twenty years on, he returns with the momentous I Do Know Some Things, cinematic in its tragic vision and emotive force.In the aftermath of a stroke, the poet’s language and much of his memory is, for a time, wiped out. As his mind gropes its way back from oblivion, the scenery flickers between memories of a ruptured childhood and queer coming-of-age, and the precipice of the present. Each poem is a room in a ‘house owned by ghosts'.In these seventy-seven prose poems, Siken has forged a new voice at once terrifying and vital. 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In this unique landscape, relatively unchanged over the centuries, the past is so evident that it can come to seem indistinguishable from the present.Illness causes a similar slippage in an individual’s sense of time. The poems trace an overlapping narrative of meningitis and the cognitive symptoms – at once distorting and revelatory – that came in its aftermath.In company with Geoffrey Hill, Ted Hughes and Pauline Stainer, Goyle, Chert, Mire employs a tough lyricism and taut line to scrutinise the natural world through historical and personal lenses. 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