Literature, poetry specifically, has always been a powerful tool in exploring the emotional and personal impact of tragedies in the lives of survivors. Poetry can play a significant role in sensitizing our ethical consciousness, through the rhetorical devices that poets use to convey their moral points of view as well as the historical events and horrors that occasioned their poetic imagination and reflection. In her book, The Human Condition, Hannah Arendt describes poetry as “the most human and the least worldly of the arts.” In light of the refugees crisis and the human tragedy unfolding in the Middle East and North Africa, and in Syria specifically, these few words about what poetry is, invite us to think about the relationship between poetry and human rights. One cannot but ask the question, how poetry, the most human of the arts, communicates human rights? And how it, as the least worldly of the arts, approaches them? Drawing upon the work of Hannah Ardent and scholars such as Ian Ward, Kerry Bystrom, among others, I propose to read the work of Jehan Bseiso and Becky Thompson, Making Mirrors: Writing/Righting by and for Refugees (2019) to show how poetry sheds light on moral, social, and historical tragedies. I will discuss the form, relevance, and timeliness of the book which comes as a plea against historical amnesia and inertia. In respect to the form of this collection, I will examine the way in which Arabic poetry, in particular, is making its way into world literature and, thus, transcending the geographical and national boundaries, in other words becoming both transnational and translational at once. I argue that, through their poetry, poets contribute to the goal of human rights education by heightening our awareness, increasing our sensibility, and challenging narratives that do not recognize the experiences of a common humanity. In this way, poetry can become a force to foster change.