The stories of Esther and Daniel begin and end in exile. While different in style and content, both biblical narratives highlight the dangers and dynamic possibilities of living outside Judah and within the court of a foreign king.

The contrast between the glory and splendor of King Solomon’s succession and reign at the beginning of the book of Kings and the “exile” or captivity of King Jehoiachin by the Babylonians at the end points to one of the central themes of the book: the collapse of the monarchy descended from the line of David.

This chapter describes in detail Neurath’s adventurous escape from The Hague with other refugees on a small boat that was intercepted by a British warship. He and his partner Marie Reidemeister were then interned as enemy aliens on the Isle of Man, due to the encroaching threat of German invasion. The internment camps were a microcosm of Central European culture, and Neurath participated in the ‘popular university’ organized by internees of his camp. The correspondence between Neurath and Reidemeister (in separate camps) reveals their optimistic determination to continue working together, as well as Neurath’s predisposal to British culture. The Society for the Protection of Science and Learning campaigned for their release but, despite intervention from Albert Einstein, their case was not simple.

The treason trials after 1945 were shaped by Norway’s particular experience of German occupation. The central importance of Nasjonal Samling to German Nazification efforts in Norway meant that those planning for a post-war reckoning soon focused their attention on how to criminalise the actions of party members. This chapter outlines the course of the Norwegian occupation, including the manifold actions on the part of Norwegian citizens that would later give rise to punishment. It details how the exile government in London and the resistance forces in Norway jointly prepared the legal groundwork for the post-war reckoning. In doing so, this chapter highlights the reasoning behind the introduction of the extraordinary legal provisions that would both determine the course of the trials and cause significant controversy after the war.

The epilogue briefly considers Ovid’s exile poetry from an environmental and place-based perspective. Ovid demonstrates that environmental poetry does not need to rely on a positive attachment to a local land. His exile poetry is about and is marked by place, shaped by the location from which Ovid is estranged and the location in which he writes. Moreover, local place matters to Ovid as a particular more-than-human environment. Tomis is represented as an environment with its own specific geography, climate, and ecologies. Ovid further explores ecological themes by emphasizing the physical effects Tomis has on his body, through motifs of cold and sickness. The epilogue also uses Ovid’s exilic work to clarify the theoretical foundations of the environmental poetics identified in Vergil and Horace. Through his provocative play with intertextuality and fictionality, Ovid demonstrates that environmental poetics can rely not on realistic description or extratextual reference, but rather on the poetic imagination.

This chapter is a reading of the second rock-water episode (Numbers 20) and the manna episode (Exodus 16). It also addresses the question of why Moses dies in the wilderness. The two episodes are part of a new version of the wilderness narrative that is emplotted like an Assyrian annal as a vision for the Israelites’ triumphant return from exile, a story parallel to the one told in poetic form in Second Isaiah. The second rock-water episode blames exile on royal disobedience and writes human kingship out of the story. Moses dies in the wilderness because kingship is dead, and God is now depicted as Israel’s only king. The manna episode reinvents human leadership as Moses is reimagined as a priest who mediates divine blessing by teaching torah.

Literature about Russians abroad includes memoirs and other non-fiction narratives of exile and emigration, often by writers who wrote from first-hand experience. It also includes fiction by writers who may or may not have emigrated themselves. Emigration is at once a biographical fact and a literary phenomenon; this has led to conflicting approaches to its interpretation. This chapter centres on the protagonists found in works of émigré literature – universalising archetypal figures, minimally disguised authorial alter egos, and migrants who elicit an unexpected jolt of recognition – all created in their historical moment, yet open to new meanings beyond their time and émigré milieu. It concludes with an examination of the exodus of writers from Russia that began soon after the 2022 invasion of Ukraine and the concomitant need to re-evaluate the association between literary emigration and the émigré writer as a voice of moral authority.

While Jacques Roumain’s classic novel Gouverneurs de la rosée foregrounds the possibility and necessity of return to Haiti, in many other literary versions of Haitian exile such a reconnection is never achieved. The returning wanderer can never just pick up where they left off, and the exile is definitive, unending. The chapter argues that exile for Haitian authors of the twentieth century is not merely a question of space or place; it has temporal dimensions that can compound the sense of separation or loss. Following a consideration of nineteenth-century exile-related poems, the chapter engages with some of the most prominent essayists, poets, and novelists whose works serve as chronicles of the multi-generational experiences of separation from Haiti before, during, and after the Duvalier dictatorships. As the examples show, experiences of exile vary widely and are determined by many factors, including personal circumstance, the place and conditions of exile, changing realities in the homeland, and evolving notions of exile itself, and of the ways in which it is written by successive generations of authors.

“The Book of Isaiah and the Neo-Babylonian Period” by Lena-Sofia Tiemeyer investigates the “black hole” in the book that is the Babylonian Exile from three perspectives. First, it analyzes how the Book of Isaiah conceptualizes Babylon. It demonstrates how the Isaianic authors sought to underscore Babylon’s weakness and transitory existence, and aimed to assert that its demise was the result of Yhwh’s supremacy over Babylon’s own deities. Second, it challenges the dating of those texts in Isaiah that are traditionally assigned to the Neo-Babylonian period. References to Babylonian customs and religious traditions, polemic against Babylon, and support of Cyrus should not be used without reflection as dating criteria. Third, it argues that the material in Isa 40–55, traditionally assumed to have been written in Babylon because of its familiarity with Babylonian matters, rather reflects the kind of general knowledge that the people living in the shadow of the Neo-Babylonian Empire would be expected to have.

One of the poetic features of Isaiah is its intertextuality. The authors of the later portions of the book worked with attention to the existing Isaianic texts, so that the book as a whole is woven together by common themes and vocabulary. Furthermore, the book is full of allusions to other biblical books, and was itself eventually a touchstone for later biblical authors. (Sometimes it is even uncertain which text came first!) Hyun Chul Paul Kim, in “Isaiah in Intertextual Perspective,” analyzes the book at each of these levels, and then looks forward to “points of intersectionality” between Isaiah and the modern world.

The book of Isaiah reflects many of the population movements that took place in the period of its formation. Much biblical scholarship focuses on “the (Babylonian) Exile,” but as C. L. Crouch points out in “Isaiah and Migration,” mass population movements were carried out in the sphere of Israel and Judah by the Assyrians long before the Babylonians overthrew Jerusalem. She also calls attention to the migrations experienced by other nations, and to forces of displacement other than deportation, such as warfare, famine, and natural disasters. She analyzes the literary reception of these numerous involuntary migrations, and the ways in which the prophet and his audiences made sense of them.

Chapter 1 introduces the theoretical and empirical background to the study of long-distance Tunisian activism as well as the guiding questions on which the book rests: What were the conditions that enabled Tunisian politics in France? How do we explain what it meant to oppose or support an authoritarian regime from afar in terms of reconfiguring this activism in a migratory context? The chapter begins by discussing the choice to examine the Tunisian case in France and situates the study as part of the broader political, economic and migratory relationships between the two countries. The chapter then presents the theoretical framework underlying that universe of political practice, namely ‘the trans-state space of mobilisation’, which I locate at the intersection of scholarship on North African politics, social movements and diaspora politics. It concludes by outlining the issues involved in undertaking fieldwork in the wake of the 2011 Revolution and introduces the material on which this book draws.

For narrative and theme, space like time is a key element in the Fasti of Ovid as well as the Metamorphoses. After an initial exploration of the programmatic establishment of the theme of place in each poem, this chapter focuses on the thematic use of geography in the Fasti. The first section reflects on the prominence given to Rome’s physical and metaphorical place in the world: it is the city to which migrants travel, from which armies depart, to which victorious generals return with new sacra. The poem also treats Rome as urban space, and uses topography to help give meaning to sequences of adjacent temples and festivals. The final section touches on how Ovid’s own exile gives depth to the presentation both of Rome and of travel in the wider world: things are out of place.

Ovid’s journey towards Tomis is represented as a reversal of Aeneas’ destiny, particularly because – unlike the Virgilian hero – the exiled poet has to leave Rome (the world capital, and not a ruined city) with no promises of a glorious future. Thus, his new subjective elegy which originates at this (wild) periphery of the empire cannot but be a sad elegy. However, Ovid’s ‘eccentric’ exile poetry increasingly displays – from the Tristia to the Epistulae ex Ponto – some remarkable traces of evolution. In particular, towards the end of the second collection, the poet sketches a peculiar image of himself: that of an interethnic uates who has been able to find a new, unprecedented audience in the Greco-Getic tribes. The public role he now plays in Tomitan society allows him to engage in a sort of civilising mission as an imperial officer. Such a complex strategy of self-accreditation emphasises the transnational character of his poetry rather than its merely national dimension. The exile still remains a harsh experience for Ovid: nonetheless, he conceives the possibility of an evolution and cultivates the dream of gaining universal poetic renown even from the extreme boundaries of the world.

Music historiography has traditionally been based on ‘methodological nationalism’, the assumption that the nation state is the ‘natural’ context of analysis. As a result, migration tends to be treated as an exception to the rule of nationhood with its comforting myths of belonging and tradition. By contrast, this chapter argues that modernist music can be regarded as the music of exile. It focuses on the ‘normality of migration’, encompassing both forced and voluntary migration, and it covers areas such as the role of international composition teachers and the ‘dodecaphonic diaspora’, the way serialism came to be associated with resistance to fascism and migration. In addition to presenting individual case studies, it seeks to quantify the commonality of migration, using the composers performed at the Annual Festivals of the International Society of Contemporary Music (ISCM), as a statistical basis. What this demonstrates is that, although mobility may not be the norm, neither is it an exception. Furthermore, it is one of the ways in which the transnational network that is integral to musical modernism has come into being.