Kahlil Gibran’s The Prophet: Curriculum Guide For the Film, Journeys in Film-Participant Media, 2015.
Kalimat Jubran, edited by Antonius Bashir, Beirut: al-Maktabat al-Thaqafia, n.d. [1st edition: al-Qahirah: Yusuf Bustani, 1927].
Kamal Dib, Bayrut wa al-Hadathat, al-Thaqafat wa al-Huiat min Jubran ila Fayruz (Beirut and Modernity, Culture and Identity from Gibran to Fayrouz), Bayrut al-Nahar, 2010
Kamila Ghalmi, "The translation of metonymy in Kahlil Gibran's story 'Rose Hanie'", University of Abou Bakr Belkaïd, Tlemcen, Algeria, 2019.
Karen Neslund, Gibran Combines Poetry, Philosophy, Art for Classic, 'The Clarion', Bethel College and Seminary, St. Paul, Minn., Volume XL — No. 3, Tuesday, October 1, 1963, p. 3.
Katharine Gordon, Kahlil Gibran: A Fire that Consumes Ink and Paper, «Gallery», Issue 06, Winter 2020, pp. 20-35.
Kehlog Albran, The Profit, Los Angeles: Price/Stern/Sloan Publishers, 1973.
Keith David Watenpaugh, Modern humanitarianism and the Year of the Locust: US relief in Palestine and Lebanon 1914–18, "Histories of humanitarian action in the Middle East and North Africa", Edited by Eleanor Davey and Eva Svoboda, HPG Working Paper, London: Humanitarian Policy Group, Overseas Development Institute, September 2014
Khairallah Tannous Khairallah, La Syrie, Paris: Ernest Leroux, 1912.
Khalil Gibran, "Ila Profeto" (The Prophet), Translation from the original English into Ido by Partaka, Espinho, Portugal: Editerio Sudo, 2023.
Kitab Dam'ah wa Ibtisama [A Book of Tears and Mirth], New York: Atlantic Press, 1914 [owned by Mary Elizabeth Haskell; inscribed by the Author].
In 1914 Nasib 'Aridah, the editor of al-Funun, published this collection of fifty-six of Gibran’s early newspaper columns (known in English as 'A Tear and a Smile' or 'Tears and Laughter'); most are a page or two long, and the volume as a whole comprises about a hundred pages. For the most part they are prose poems: painterly expositions of a vivid image or story fragments. The themes are love, spirituality, beauty, nature, and alienation and homecoming. Typical are “Hayat al-hubb” (The Life of Love), portraying the seasons of love of a man and a woman from the spring of youth to the winter of old age, and “Amama ‘arsh al-jamal” (Before the Throne of Beauty), in which the goddess of nature tells the poet how she was worshiped by his ancestors and counsels him to commune with nature in wild places. Gibran feigned reluctance to republish these pieces on the grounds that he had moved beyond them. They are not especially deep, but they have a freshness and the moral and aesthetic earnestness that was always Gibran’s strength in his writing and his art. The collection was dedicated to Haskell using her initials, “M.E.H.”
Lagrimas e sorrisos (Kitāb Dam‘ah wa Ibtisāmah), translated into Brazilian Portuguese by José Mereb, Rio de Janeiro: Typograhia Guarany Pelotas, 1920 [owned by Mary Elizabeth Haskell].
Larry Luxner, A Garden for Gibran, Aramco World Magazine, March-April 1990, pp. 2-5.
Lawrence Ferlinghetti, Pity The Nation (After K. Gibran), with an original painting by Soheyl Dahi, San Francisco [CA]: Sore Dove Press, 2007.____________Printed letterpress and bound into card covers; limited to an edition of 100 signed and numbered copies.
Layla Maleh, The English Novel by Arab Writers (1950-1970), King's College London, 1980.
Laylat fi al-Arz: Hawl haflat Jubran", al-Irfan, Oct 1, 1931.
