Search results for ""Poetry Book Society""

The houses and landscapes of childhood exert a strong presence in Silent in Finisterre. Recalled by name, in incantation, or described in ways that recapture their irreducible reality to a child for whom they are the totality of the world, they become a kind of memory theatre: for Jane Griffiths physical things are remembered both for their own sake and to explore how they continue to shape the self. Style impresses as much as content in her resonantly evocative poems, with sentences played against line breaks to create constant small disruptions of the expected sense, while predictable phrases and forms of words are summoned only to be rewritten. Here language is not a transparent means of conveying a message but a medium that - no less than charcoal or oil paint - materially affects what is expressed through it. Form and subject are as inextricably entwined as 'the echo of port in the night's starboard, / the terra firma that is silent in Finisterre'. Jane Griffiths' Another Country: New & Selected Poems was shortlisted for the Forward Prize for Best Collection in 2008, and followed by Terrestrial Variations in 2012. Silent in Finisterre shows her extending her explorations of people and place with delight at being in the world, despite the threat of loss. Poetry Book Society Recommendation.

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Winner of the T. S. Eliot Prize 2020.Poetry Book Society Choice, Summer 2020.Bhanu Kapil’s extraordinary and original work has been published in the US over the last two decades. During that time Kapil has established herself as one of our most important and ethical writers. Her books often defy categorisation as she fearlessly engages with colonialism and its ongoing and devastating aftermath, creating what she calls in Ban en Banlieue (2015) a ‘Literature that is not made from literature’. Always at the centre of her books and performances are the experiences of the body, and, whether she is exploring racism, violence, the experiences of diaspora communities in India, England or America, what emerges is a heart-stopping, life-affirming way of telling the near impossible-to-be-told. How To Wash A Heart, Kapil's first full-length collection published in the UK, depicts the complex relations that emerge between an immigrant guest and a citizen host. Drawn from a first performance at the ICA in London in 2019, and using poetry as a mode of interrogation that is both rigorous, compassionate, surreal, comic, painful and tender, by turn, Kapil begins to ask difficult and urgent questions about the limits of inclusion, hospitality and care.

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Mama Amazonica is set in a psychiatric ward and in the Amazon rainforest, an asylum for animals on the brink of extinction. It reveals the story of Pascale Petit's mentally ill mother and the consequences of abuse. The mother transforms into a giant Victoria amazonica waterlily, and a bestiary of untameable creatures - a jaguar girl, a wolverine, a hummingbird - as she marries her rapist and gives birth to his children. From heartbreaking trauma, there emerge luxuriant and tender portraits of a woman battling for survival, in poems that echo the plight of others under duress, and of our companion species. Petit does not flinch from the violence but offers hope by celebrating the beauty of the wild, whether in the mind or the natural world. Mama Amazonica is Pascale Petit's seventh collection, and her first from Bloodaxe. Four of Pascale Petit's previous six collections have been shortlisted for the T.S. Eliot Prize. Winner of the inaugural Laurel Prize in 2020, Mama Amazonica won the Royal Society of Literature's Ondaatje Prize 2018 - the first time a poetry book has won this prize for a work of fiction, non-fiction or poetry best evoking the spirit of a place, was shortlisted for the Roehampton Poetry Prize 2018, and was the Poetry Book Society Choice for autumn 2017.

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WINNER OF THE 2021 PULITZER PRIZE IN POETRYSHORTLISTED FOR THE FORWARD PRIZE FOR BEST COLLECTIONSHORTLISTED FOR THE T. S. ELIOT PRIZEPOETRY BOOK SOCIETY RECOMMENDATIONPostcolonial Love Poem is a thunderous river of a book, an anthem of desire against erasure. It demands that every body carried in its pages - bodies of language, land, suffering brothers, enemies and lovers - be touched and held. Here, the bodies of indigenous, Latinx, black and brown women are simultaneously the body politic and the body ecstatic, and portrayed with a glowing intimacy: the alphabet of a hand in the dark, the hips' silvered percussion, a thigh's red-gold geometry, the emerald tigers that leap in a throat. In claiming this autonomy of desire, language is pushed to its dark edges, the astonishing dune fields and forests where pleasure and love are both grief and joy, violence and sensuality.Natalie Diaz defies the conditions from which she writes, a nation whose creation predicated the diminishment and ultimate erasure of bodies like hers and the people she loves. Her poetry questions what kind of future we might create, built from the choices we make now - how we might learn our own cures and 'go where there is love'.

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Translated by Brian Cole, with an introduction by Peter Dale.Parallel text, Italian / English"Brian Cole translates Cattafi's precise meditations and unexpected imagery with skill and subtlety."Translation Review:"This is a subtle book full of those flashes of half-recognition that come 'when the hawk has made his journey / from the fist to a heart.'" Susan WicksVisible Poets series, no. 1. Series editor: Jean Boase-Beier.A selection from over 300 poems in the Collected Works, containing some of poet's finest writing. This collection reflects Cattafi's restlessness and his urge to travel — there are poems about islands, streets, cities, the sea, about places both familiar and unfamiliar to the English reader.But we are also aware of a strong element of spiritual journeying in his poetry, as he probes the truth and meaning behind the existence of the concrete, the ordinary, the everyday. In this new translation, Brian Cole translates Cattafi's precise meditations and unexpected imagery with consummate skill that allows the English reader to share the poet's urgency of being "driven by necessity / to a truth clothed in falsehood".Poetry Book Society Recommended Translation, Summer 2000

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Amy Key's Isn't Forever is a spell book for feminine selfhood in a world where a sense of self is flimsy, elusive and unrequited. The poems in this book are obsessive in their desire to construct and breach the terms of their own intimacy. The poems have their own `narrative costume' but are vexed with it, not quite able to master the 'diligence of having a body'. This is a book where a tender and sabotaging shame of aloneness has taken root. Where wants cluster and are at war with each other. Where the heart is at once 'all lurgy' and an 'investment piece' to be saved for best. Where the sea is the only solace, but the sea is blase. The `ta-dah!' and candour of these poems is an exercise in Amy Key's imaginative protection and urge for personal extravaganza, an attempt to acknowledge but fight back the brutal inner voice. The obscure audience of the reader is never out of sight. Amy Key's first collection Luxe was published by Salt in 2013. Isn't Forever, her second book-length collection, is a Poetry Book Society Wildcard Choice.

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BBC Radio 4 BOOK OF THE WEEKFORWARD PRIZE 2019 SHORTLISTPOETRY BOOK SOCIETY CHOICE 2019The long-awaited new collection from Ilya Kaminsky: a remarkable parable in poems which asks us, what is silence?Deaf Republic opens in a time of political unrest in an occupied territory. It is uncertain where we are or when, in what country or during what conflict, but we come to recognise that these events are also happening here, right now. This astonishing parable in poems unfolds episodically like a play, its powerful narrative provoked by a tragic opening scene: when soldiers breaking up a protest kill a deaf boy, the gunshot becomes the last thing the citizens hear - in that moment, all have gone deaf. Inside this silence, their dissent becomes coordinated by sign language. The story then follows the private lives of townspeople encircled by public violence: a newly married couple, Alfonso and Sonya, expecting their child; the daring Momma Galya, instigating the insurgency from her puppet theatre; and Galya's puppeteers, covertly teaching signs by day and by night heroically luring soldiers one by one to their deaths behind the curtain. At once a love story, an elegy, and an urgent plea, Deaf Republic confronts our time's vicious atrocities and our collective silence in the face of them.

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A New York Times Bestseller, chosen as Oprah's 'Books That Help Me Through' for Oprah's Book ClubChosen by Poetry Book Society as their special commendation'No matter where one starts reading, Devotions offers much to love, from Oliver's exuberant dog poems to selections from the Pulitzer Prize-winning American Primitive, and Dream Work, one of her exceptional collections. Perhaps more important, the luminous writing provides respite from our crazy world and demonstrates how mindfulness can define and transform a life, moment by moment, poem by poem' The Washington Post'It's as if the poet herself has sidled beside the reader and pointed us to the poems she considers most worthy of deep consideration' Chicago TribuneThroughout her celebrated career, Mary Oliver touched countless readers with her brilliantly crafted verse, expounding on her love for the physical world and the powerful bonds between all living things. Devotions is a stunning, definitive and carefully curated collection featuring work from over fifty years of writing - from Oliver's very first book of poetry, No Voyage and Other Poems, published in 1963 at the age of 28, through to her last collection, Felicity, published in 2015. This timeless volume, arranged by Oliver herself, showcases the beloved poet at her edifying best. Within these pages, she provides us with an extraordinary and invaluable collection of her passionate, perceptive, and much-treasured observations of the natural world.

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Jane Hirshfield is a visionary, profoundly original American writer whose poems ask nothing less than what it is to be human. Both sensual meditations and passionate investigations, they reveal complex truths in language luminous and precise. Rooted in the living world, her poems celebrate and elucidate a hard-won affirmation of our human fate. Born of a rigorous questioning of heart, spirit and mind, they have become indispensable to many American readers in navigating their own lives. Bloodaxe published her retrospective Each Happiness Ringed by Lions: Selected Poems in 2005, followed by After in 2006, a Poetry Book Society Choice which was short-listed for the T.S. Eliot Prize, and then Come, Thief in 2011. Jane Hirshfield's latest collection, The Beauty, opens with a series of poems exploring both the profundities and the quirks of our shared human existence. She draws intimate meaning from multiple realms: science, culture, language itself, and above all the luminous materials and minutely particular emotions of daily life. In their robust negotiation with fate and justice, these clear and moving poems open a new and steepened understanding of our lives' full measure of losses, knowledge, and loves.

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Poetry Book Society Wild Card Winner of the Walt Whitman Award of the Academy of American Poets'It’s thrilling to discover such a staggeringly self-assured debut, to feel in the unmistakable presence of The Real Thing' Kaveh AkbarThe Yemeni American poet Threa Almontaser’s incendiary debut asks how mistranslation can be a form of self-knowledge and survival. A love letter to the country and people of Yemen, a portrait of young Muslim womanhood in New York after 9/11, and an extraordinarily composed examination of what it means to carry in the body the echoes of what came before, Almontaser sneaks artifacts to and from worlds, repurposing language and adapting to the space between cultures. Speakers move with the force of what cannot be contained by the limits of the American imagination; instead, they invest in troublemaking and trickery, navigate imperial violence across multiple accents and anthems, and apply gang signs in henna, utilizing any means necessary to form a semblance of home. Fearlessly riding the tension between carnality and tenderness in the unruly human spirit, The Wild Fox of Yemen is one of the most original and bold debuts in recent years.

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Book of Days is a long poem recounting a journey along the popular pilgrimage route, or 'Camino' to Santiago de Compostela in northern Spain. Animated by song and conversation, the poem is filled with the stories of those encountered along the way, combining a multi-voiced soundscape with vivid verbal sketches of landscape and architecture. The possibilities and contradictions of a twenty-first-century pilgrimage are revealed: inevitably informed by tourism and technology, yet offering new kinds of fellowship and connection in an age of individualism and rootlessness. Book of Days can be read as a travel memoir, a meditation on community and solitude, on friendship and sisterhood, and on spirituality. What pilgrims seek on setting out and what they discover as they go prove to be complementary. Phoebe Power's debut collection, Shrines of Upper Austria (Carcanet, 2018), a Poetry Book Society Recommendation, was shortlisted for the 2018 T. S. Eliot Prize and won the 2018 Forward (Felix Dennis) Prize for Best First Collection. Book of Days extends the formal and thematic concerns of the first book, travelling a new set of paths but with the same restless curiosity and celebratory wonder.

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Winner of the Forward Prize for Best Collection 2023. Winner of the T.S. Eliot Prize 2023. Shortlisted for the Writers' Prize 2024. The Poetry Book Society Spring Choice 2023. A Guardian and The Irish Times Book of the Year. Jason Allen-Paisant's debut collection Thinking With Trees won the 2022 OCM Bocas Prize for poetry and was an Irish Times and White Review Book of the Year 2021. In Poetry London Maryam Hessavi wrote, 'Jason Allen-Paisant is uncompromising when digging down through the undergrowth of our imperialist past - and yet he succeeds in replanting new narratives in the same soil where these toxic ideologies used to, and still, reside.' The interlocking poems of his second collection, Self-Portrait as Othello, imagine Othello in the urban landscapes of modern London, Paris and Venice and invent the kinds of narrative he might tell about his intersecting identities. Poetic memoir and ekphrastic experiment, Self-Portrait as Othello focuses on a character at once fictional and real. Othello here represents a structure of feeling that was emerging in seventeenth-century Venice, and is still with us. Portraiting himself as Othello, Allen-Paisant refracts his European travels and considers the Black male body, its presence, transgressiveness and vulnerabilities. Othello's intertwined identities as 'immigrant' and 'Black', which often operate as mutually reinforcing vectors, speak to us in the landscape of twenty-first-century Europe.

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Matthew Sweeney's tenth collection of poems is as sinister as its dark forebears, but the notes he hits in "Horse Music" are lyrical and touching as well as disturbing and disquieting. Confronting him in these imaginative riffs are not just the perplexing animals and folklorish crows familiar from his earlier books, but also magical horses, ghosts, dwarfs and gnomes. Central to the book are a group of Berlin poems - introducing us to, among things, the birds of Chamissoplatz who warn of coming ecological disaster, or the horses who swim across the Wannsee to pay homage to Heinrich von Kleist in his grave. Many poems in the book range freely across the borders of realism into an alternative realism, while others stay within what Elizabeth Bishop called 'the surrealism of everyday life' - such as a tale about Romanian gypsies removing bit by bit an abandoned car. "Horse Music" is not only Matthew Sweeney's most adventurous book to date, it is also his most varied, including not only outlandish adventures and macabre musings, but also moving responses to family deaths - balanced by a poem to a newborn, picturing the strange new world that will unfold for her. That strange world unfolds for us too in the eerie poems of Horse Music. Poetry Book Society Recommendation.

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Philip Levine was the authentic voice of America's urban poor. Born in 1928, the son of Russian-Jewish immigrants, he spent his early years doing a succession of heavy labouring jobs. Trying to write poetry 'for people for whom there is no poetry', he chronicled the lives of the people he grew up with and worked with in Detroit: 'Their presence seemed utterly lacking in the poetry I inherited at age 20, so I've spent the last 40-some years trying to add to our poetry what wasn't there.' Much of his poetry addresses the joys and sufferings of industrial life, with radiant feeling, as well as painful irony: 'It took me a long time to be able to write about it without snarling or snapping. I had to temper the violence I felt toward those who maimed and cheated me with a tenderness toward those who had touched and blessed me.' Always a poet of memory and invention, Philip Levine has continually written poems which search for universal truths. His plain-speaking poetry is a testament to the durability of love, the strength of the human spirit and the persistence of life in the face of death. Poetry Book Society Special Commendation.

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A Poetry Book Society Winter 2020 Recommendation. Bill Manhire's Wow opens with the voice of an extinct bird, a song from anciency, and takes us forward into the present and the darkening future of other extinctions. For Manhire, the reach of the lyric is long: it has the penetration of comedy, satire, the Jeremiad, but also the delicacy of minute detail and the rhythms of nature's comfort and hope, the promise of renewal. In the title poem the baby says 'Wow', and the wonder is real at the world and at language. But the world will have the last word. Writing of Manhire, Teju Cole declared, 'Being the leading poet in New Zealand is like being the best DJ in Estonia, impressive enough on its own terms. But Bill Manhire is more than that: he's unquestionably world-class. As with Seamus Heaney, you get a sense of someone with a steady hand on the tiller, and both the will and the craft to take your breath away.' Bill Manhire was New Zealand's first poet laureate. He established and until recently directed the International Institute of Modern Letters at Victoria University of Wellington. This is the ninth of his Carcanet books in 30 years. They include a Selected and a Collected Poems.

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C.K. Williams (1936-2015) was the most challenging American poet of his generation, a poet of intense and searching originality who made lyric sense out of the often brutal realities of everyday life. His poems are startlingly intense anecdotes on love, death, secrets and wayward thought, examining the inner life in precise, daring language. In Writers Writing Dying, he retains the essential parts of his poetic identity - his candour, his compelling storytelling, the social conscience of his themes - while slyly reinventing himself, re-casting his voice, and in many poems examining the personal - sexual desire, the hubris of youth, the looming spectre of death - more bluntly and bravely than ever. In 'Prose', he confronts his nineteen-year-old self, who despairs of writing poetry, with the question 'How could anyone know this little?' In a poem of meditation, 'The Day Continues Lovely', he radically expands the scale of his attention: 'Meanwhile cosmos roars on with so many voices we can't hear ourselves think. Galaxy on. Galaxy off. Universe on, but another just behind this one - ' Even the poet's own purpose is questioned; in 'Draft 23' he asks, 'Between scribble and slash - are we trying to change the world by changing the words?' With this wildly vibrant collection - by turns funny, moving, and surprising - Williams proves once again that, he has, in Michael Hofmann's words, 'as much scope and truthfulness as any American poet since Lowell and Berryman'. Poetry Book Society Recommendation.

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The stories brought together in Foreigners, Drunks and Babies cast the slanting light of a poet's sensibility on the Imperial Academy of an ancient Eastern empire; detail the musical education of a northern realist parish priest and his sons; travel through the West of Ireland with a couple facing various extinctions; spy on the shadowy private life of a Cold War warrior; engage in hand-to-hand fighting with a classroom full of Soviet teachers; follow the adventures of an Italian girl visiting her sick boyfriend in hospital; discover how hard it can be to get a passport for your first-born; find out why everyone pretends you're not there; investigate a seemingly victimless crime; reveal reasons for a Japanese girl's committing suicide; and realize that there's no need to be forgiven for things you didn't know you hadn't done. In this first collection of his imaginative fiction, Peter Robinson, winner of the Cheltenham Prize, the John Florio Prize, and two Poetry Book Society Recommendations for his poems and translations, brings a characteristic perceptiveness, rhythmical accuracy, and vividness of evocation to these eleven examples of what he's been doing in the gaps between his other writings. His new and returning readers may be both surprised and entertained.

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WINNER OF THE MICHAEL MURPHY MEMORIAL PRIZEPOETRY BOOK SOCIETY CHOICEIn the language of fan fiction, a 'Mary Sue' is an idealised and implausibly flawless character: a female archetype that can infuriate audiences for its perceived narcissism.Such is the setting for this brilliant and important debut by Sophie Collins. In a series of verse and prose collages, Who Is Mary Sue? exposes the presumptive politics behind writing and readership: the idea that men invent while women reflect; that a man writes of the world outside while a woman will turn to the interior.Part poetry and part reportage, at once playful and sincere, these fictive-factive miniatures deploy original writing and extant quotation in a mode of pure invention. In so doing, they lift up and lay down a revealing sequence of masks and mirrors that disturb the reflection of authority.A work of captivation and correction, this is a book that will resonate with anyone concerned with identity, shame, gender, trauma, composition and culture: everyone, in other words, who wishes to live openly and think fearlessly in the modern world. Who Is Mary Sue? is a work for our times and a question for our age: it is a handbook for all those willing to reimagine prescriptive notions of identity and selfhood.

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Hot on the heels of her previous collection Men Who Feed Pigeons, Selima Hill's Women in Comfortable Shoes is her 21st book of poetry, presenting eleven contrasting but well-fitting sequences of short poems relating to women: Fishface: A disobedient young girl is sent to a Catholic convent school to give her mother a break. My Friend Weasel: The 50s. A girls' boarding school where the girls are somehow managing to make new friends. Susan and Me: On friendship. Two close friends, one of whom, Susan, is heading for a nervous breakdown. Dolly: Dolly is a duck. The other 29 women are, in their various ways, human. My Mother with a Beetle in Her Hair: A daughter's passion for swimming – despite of her mother hating every minute. Fridge: Lorries, geese and fridges speak of death, grief and absence. My Spanish Swimsuit: A daughter fears her rabbit-trapping father.. The Chauffeur: A pair of bad-tempered sisters, a parrot and a cat. Girls without Hamsters: An older woman's obsession with a spider-legged young man. Reduced to a Quivering Jelly: Vera is old, and getting older, but she doesn't seem to care. Dressed and Sobbing: A woman is surprised to find herself getting older and lazier. The book is a Poetry Book Society Recommendation.

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Wayne Brown's On the Coast was first published in 1972. It was a Poetry Book Society Recommendation in the UK and established Brown as one of the finest young poets of the post-Walcott generation. It was followed in 1988 by Voyages, a collection that amply showed the maturing of Brown's remarkable gifts but was rarely available. Now, long after some of the 'revolutionary' poets are forgotten, it is possible to see that Brown's work has been seminal in Caribbean poetry, both for its intrinsic qualities, and for Brown's crucial role as the mentor of a current generation of Caribbean poets. This edition restores the original text of the 1972 edition and adds the new poems first published in the later collection.Wayne Brown's poems approach the issues of creativity, finding meaning, finding contentment and the threats to these human goals through poems about Caribbean nature (his bestiary of sea creatures makes him a Caribbean Ted Hughes); through anecdote, frequently drawing on family life; through poems about favourite artists such as Neruda, Nabakov, Rilke and the Tobagan poet Eric Roach; through reflecting on the rewards and pain of remaining in the Caribbean compared to the loss suffered by those writers and artists who left the islands.Best known as one of the Caribbean's most incisive commentators, Wayne Brown raised a weekly newspaper column to a literary art. Between 1984 and 2009, some 3,500 editions of his column In Our Time appeared in Trinidadian and Jamaican newspapers

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The world of Beauty/Beauty is 'built from the nose/out, like a painting', accumulating its various feelings, ideas, objects, disappointments and joys to the point of almost overflowing. Preoccupied with demise and loss, as well as reimagination and regeneration, Rebecca Perry's debut collection has the duality and symmetry of its title at its core. Beauty/Beauty is a book with tenderness running through its veins, exploring salvation, reparation and the fullness of being alive; the difficulty of defining what love is, the heartbreak, the faraway friends, the overwhelming abundance of things in museums. It is alive with memories, with old loves hanging around in the corners of dark rooms, ghost mouths hidden inside the mouth you are kissing, and eulogies to dearly departed pets. Each poem creates its own tiny world to be lived in and explored; a stegosaurus is adored, a million silver spiders play dead, a list of flowers is not really a list of flowers, adorable dogs want to be friends, the flightless grow wings, and the stars turn green. Beauty/Beauty was a Poetry Book Society Recommendation, won the Michael Murphy Memorial Prize 2017, and was also shortlisted for the T.S. Eliot Prize, the Fenton Aldeburgh First Collection Prize and the Seamus Heaney Centre for Poetry Prize for First Full Collection.

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Winner of the Anglo-Hellenic League Runciman Award 2023. Shortlisted for the London Hellenic Prize 2022. The Poetry Book Society Winter Special Commendation 2022. 'The ancients taught me how to sound modern,' A.E. Stallings said in an interview. 'They showed me that technique was not the enemy of urgency, but the instrument.' For her, 'technique' is rooted in traditions of strict forms and metres, an interest that sets her apart as modern - and American - in challenging ways, for being on the face of it old-fashioned, yet ambitiously experimental among the forms she uses. Raised in Atlanta, Georgia, she lives in Athens, Greece. Her poems come out of life's dailiness - as a wife, mother, teacher, an expatriate between languages, a brilliant translator of ancient and modern Greek. She also translates Latin, her most notable large work being the Penguin Lucretius, translated into fourteeners. Being a poet in Greece entails, for her, being part of that world. She was among volunteers helping refugees as they arrived in Greece, and their experience haunted her to write, 'My love, I'm grateful tonight / Our listing bed isn't a raft / Precariously adrift / As we dodge the coast guard light...' The sharp quatrain commends the observation to memory. The poems, without self-indulgence or confession, are intimate as they address 'My love', children or friends.

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Longlisted for the 2019 Michael Murphy Memorial Prize Shortlisted for the 2019 Seamus Heaney First Collection Prize Shortlisted for the 2019 Somerset Maugham Award from the Society of Authors Shortlisted for the 2018 T. S. Eliot Prize. Winner of the 2018 Forward (Felix Dennis) Prize for Best First Collection. A Poetry Book Society Spring 2018 Recommendation. Wandering in central Europe, a traveller observes and records a landscape of lakes, folk culture and uneasy histories. Phoebe Power's Shrines of Upper Austria gathers numerous stories and perspectives, such as the fragmented narrative of an Austrian woman who married a British soldier after the Second World War, and the voices of schoolchildren and immigrants. Strange discoveries are made: a grave for two dead goats; a lantern procession on the night of Epiphany; a baby abandoned by a river; a homemade frog-puppet. The poems are a collage of stories and histories, set in a variety of forms and registers. They are attentive to local detail, rich in the names of people and places - Marija, Omegepta, Eck 4 and the Loser Mountain. Mixing poetry and prose, image and narrative, German and English, Power's poems are a celebration of creativity in unlikely places. Against a disquieting backdrop of mild winters and memories of snow, they invite us to question what it means to feel at once a stranger and at home.

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Who was the real architect of the Gunpowder Plot? Who was the first person to wear a Guy Fawkes mask? Why was Shakespeare's Dark Lady dark? These and many other questions are answered in Graham Holderness's new novel, which combines historical fiction, psychological mystery and supernatural thriller in a highly original and imaginative re-telling of the Gunpowder Plot. It is 1604. The Gunpowder Plotters are tunnelling under the palace of Westminster, and confront an immovable obstacle. Guy Fawkes travels to Europe to fetch help, and brings back more than he bargained for. Who is the mysterious Dark Lady? Who is the man in the mask? Why is London over-run by a plague of vampires, and who is going to defeat them? From a Westminster vault to a Transylvanian mine, from the crypt of Lambeth Palace to the under-stage of the Globe theatre, Black and Deep Desires takes the reader on a tour of historical, psychological and mythical underworlds, delving deep into some of history's unexplored corridors, into the secret thoughts of Catholic terrorists, and into the dark wellsprings of Shakespeare's poetry. In Black and Deep Desires Graham Holderness combines the expertise of an internationally-recognised Shakespeare scholar, the narrative flair of his 2001 novel The Prince of Denmark, and the poetic sensibility that won his verse collection Craeft a Poetry Book Society award.

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Winner of the African Poetry Book Fund's 2022 Luschei Prize for African Poetry. A Poetry Book Society Autumn 2021 Recommendation. An Irish Times Best Poetry Books of 2021. Virga is the third book of poems by Zimbabwean poet Togara Muzanenhamo, following on from his acclaimed collections Spirit Brides (2006) and Gumiguru (2014). Set in the twentieth century, Virga features historical events woven together by the weather. From the spiritual silence of a sundog during the 1911 Japanese Antarctic Expedition, to the 1921 World Championship chess matches in the Cuban heat, to the final hours of a young Bavarian mountaineer in the Bernese Alps in 1936 and strange white clouds decimating whole villages in northern Cameroon in 1986 - the poems capture stories of a rapidly evolving century beneath an ancient, fragile sky. The title relates to the meteorological phenomenon in which a column, shaft or band of rain or snow is seen falling from a cloud but never reaching the earth - evaporating before touchdown. Like Gumiguru, which has so much to do with weather, Virga continues with it, its impact on our daily lives. But, here, his geography broadens out to include wider worlds and different histories artfully strung together by the poet's fascination with the elements. Togara Muzanenhamo was shortlisted for the Jerwood Alderburgh First Collection Prize and the Glenna Luschei Prize for African Poetry.

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SHORTLISTED FOR THE T. S. ELIOT PRIZEPOETRY BOOK SOCIETY RECOMMENDATIONZaffar Kunial is a proven master of taking things apart, polishing the fugitive parts of single words, of a sound, a colour, the name of a flower, and putting them back together so that we see them in an entirely different light. In the poems of England's Green, we are invited to look at the place and the language we think we know, and we are made to think again. With everything so newly set, we are alert, as the poet is, to the 'dark missing / step in a stair', entering this new world with bated breath. By such close attention to the parts, the poems have a genius for invoking absence, whether that be a missing father, the death of a mother or a path not taken. Fully formed, they share a centre of gravity: migrations, memories, little transgressions and disturbances, summoned and contained in small gestures - a hand held, the smell of a newly bred rose or the scratch a limpet makes to mark its home.'Zaffar Kunial is a poet whose work thrills me, who makes you return to the origins of things, places, language and people again and again. He's a poet who takes traditions seriously but makes of them something entirely new - a must.' Jackie Kay

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The Delta is a densely populated place. Whole countries inhabit it, exercising their powers and authority, presenting their offers of complicity and compliance. Individuals move through the night and come upon themselves in its mirrors. Dreamers and fantasists repopulate its hidden corners: Rimbaud, Bruno Schultz, William Blake, Arthur Schnitzler and the physicist Dennis Gabor lay claim to their own visions of it. Animals gaze at their human companions who gaze back. They try to puzzle each other out, looking to climb into each other's eyes. They court each other, desire their own species, are captivated both by each other's and their own beauty. Life goes on its desultory way, finding itself between creeks and cracks. And occasionally the world does crack open. Planes crash, boats sink, weather changes, floodwaters rise, people vanish on journeys. Anxiety remains: disaster zones persist into old age and death, and into the life, death and resurrection of language itself. At the core of the book is The Yellow Room, a sequence of mirror poems contemplating the Jewishness of the poet's father. The room constricts and glows.The poem breaks up across the page at intervals then reassembles into its mirrors. Many of the poems are formal haiku sequences. They are new parts of a personal Delta. Others are in rhymed and broken stanzas. The Delta has to survive - if it survives at all - on its broken patterns. Poetry Book Society Choice.

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Valerio Magrelli was born in Rome in 1957. Among many other awards for his poems, he has won the Mondello Prize (1980), the Viareggio (1987), the Montale Prize (2002) and the Feltrinelli Prize (2002) and the Cetona Prize (2007). A lecturer on French literature at the University of Cassino, he has also published critical works on Dadaism, on Paul Valéry and Joseph Joubert, as well as notable translations of Mallarmé, Valéry, Jarry, Char and Ponge. He is also the author of two plays and one collection of short prose pieces, Nel condominio della carne, a poignant, often witty meditation on his own body and the ills it is heir and host to. He is currently working on a critical study of Baudelaire.Jamie McKendrick was born in Liverpool in 1955. He taught at the University of Salerno in Italy and is the author of five collections of poetry: The Sirocco Room (1991); The Kiosk on the Brink (1993); The Marble Fly (1997), winner of the Forward Poetry Prize (Best Poetry Collection of the Year) and a Poetry Book Society Choice; Ink Stone (2003), which was shortlisted for the 2003 T. S. Eliot Prize and the 2003 Whitbread Poetry Award; and Crocodiles & Obelisks, shortlisted for the Forward Prize. A selection of his poems was published as Sky Nails (2000), and he is editor of The Faber Book of 20th-Century Italian Poems (2004).

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The Poetry Book Society Winter Wild Card 2021. In February 2020, ventilated tetraplegic poet Owen Lowery and his wife, Jayne, were travelling to Scotland when their vehicle aquaplaned, spun round on the motorway, hit a barrier, flipped over the barrier and rolled over several times, before coming to rest on its side in a field. Having barely survived, Lowery emerged into a world transformed by the coronavirus, one in which life and death had moved closer. During his months of recovery from three brain bleeds, a shattered right arm, multiple seizures and pulmonary bleeding, Lowery returned to writing poems, many of which address the strangeness, the disorientation, of his situation and that of the world in general. Lowery wrote these poems amidst reports of Government and health initiatives that suggested potential utilitarian sacrifices of 'the vulnerable'. Completed shortly before his death in May 2021, the fear and loss of the vulnerable and the voiceless haunt many of the poems. In the 'Crash Wake' sequence, Lowery adopted a twelve-line form. Twelve lines was as long as he could manage to sustain a poem at the time, due to repercussions from his head injury. The form also allowed him to take what Keith Douglas called 'extrospective' snapshots of the new environment in which he found himself: streets empty of people, an Italian village cut off by the army, a train in India killing migrant workers in their sleep. Recovery, nature and love fill the gaps in this changed world. Lowery's final book appreciates afresh landscape and wildlife, family and marriage, the importance and fragility of life.

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Elena Shvarts was the most outstanding Russian poet of her generation. 'Paradise' presents a dual language selection of her earlier poetry, and was a Poetry Book Society Recommended Translation. Each new generation has to reinterpret St Petersburg, the place, the culture and its significance for Russia. Shvarts's haunted and demonic city is nearer Dostoyevsky's than Akhmatova's or Brodsky's. Her poetry draws backwoods Russian folklore with its cruelty, its religiosity and its quaint humour, into stone, cosmopolitan Petropolis. She brings out both the truth and the irony of Peter the Great's 'Paradise', celebrating and reviling her native city as a crossroads of dimensions, a reality riddled with mythical monuments and religious symbols. Despite the blood beneath its pavements, her St Petersburg also reveals traces of an angelic origin: 'Black rats nest over the shining river, in undergrowth, / They're permitted, welcome, nothing can ruin paradise on earth.' Elena Shvarts stood outside all schools and movements in contemporary Russian poetry. She once famously described poetry as a 'dance without legs'. Her own poetry fits this description perfectly, a combination of deeply rhythmic and lyrical dance with the eccentric, perpetual movement of flight. The world of her poems is strange and grotesque; often the setting is urban, but unrecognisable - towns emptied of the everyday and peopled only by animals, spirits and strange elemental forces. A peculiar religious fervour illuminates these scenes, but her religion is unorthodox and highly individual. Shvarts’s poetry is visionary. Her vision takes her to the edge of language and rhythm, and she was one of the few contemporary poets brave enough to trust her vision absolutely.

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Poetry Book Society Recommendation. Moving from the violent to the erotic, "Conquest" describes women questing to rediscover their own desire. Split into three sections, the collection begins in the 19th-century England of the Bronte sisters, travels through the vast continent of the USA, and finally finds the answer to women's longing in a walled garden in the decorous city of Paris. In America and Europe, the heroines struggle against the conquest of bodies and of place, facing issues like miscarriage, lost love and domestic violence. Consolation comes, however, by discovering their own desires and independence. The collection begins with 'My Last Rochester', a sequence devoted to the Bronte sisters and their struggle to meet expectations of them as women, lovers and wives. The English Gothic gives way later to a story of American immigration in the title-sequence. 'Conquest' pans to the wide open spaces of the USA, where pioneering women still quest to satisfy the sweetness of their own longings. Such satisfaction is only unravelled by retreating to a walled garden in the final sequence, 'The Lady and the Unicorn'. Original in its use of form, "Conquest" questions the brutal aspects of Western society, especially violence against women and the colonial mind-set. Inspired by the tapestries at the Musee Cluny in Paris and the artwork of Victoria Brookland, the poems visualise women rediscovering their own pleasures, desires, loves. Bridging the personal and the universal, Conquest offers a compelling vision of healing and consolation.

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A Poetry Book Society Winter Recommendation 2023. A Sunday Times Book of the Year. In Child Ballad, David Wheatley's sixth collection, he explores a world transformed by the experience of parenthood. Conducting his children through landscapes of Northern Scotland, he follows pathways laid down by departed Irish missionaries and by wolves. He maps a rich territory of rivers, trees and mountains. Also present are histories, some evidenced, some no longer visible and yet to be inferred. Stylistically, Child Ballad is multifaceted, drawing on influences from the Scottish ballad tradition and the Gaelic bards, on French symbolism and on the American Objectivists. Wheatley is an Irish poet living and teaching in Scotland: as a cultural corridor, his Scotland is a space of migrations and palimpsests, different traditions held in dynamic balance and fusion. Writing across geographical and historical distances as he does, Wheatley develops an aesthetic of complex intimacy, alert to questions of memory and loss, communicating the ache of the here and now. He sees through the eyes of young children and the world looks very different in its gifts and threats. Wheatley provides intimate descriptions of parenthood as well as of a Northern Scottish natural world. He deploys an ambitious range of poetic styles and forms. His poems put deep roots down into history and geology, and with translation into other languages. Themes of migration and politics are never far away. Child Ballad sings of midlife, of resettlement and marriage as well as of parenthood.

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Welsh is the oldest surviving Celtic language, and the most flourishing. For around fifteen centuries Welsh poets have expressed an intense awareness of what it is like to be human in this part of the world in poems of extraordinary range and depth. And despite the global tendency towards homogenisation, Welsh poets have fought back, drawing inspiration from both the traditional and the contemporary to forge a new and rainbow-like modernism. This wide-ranging anthology of 20th-century Welsh-language poetry in English translation – by far the most comprehensive of its kind – will be a revelation for most readers. It will dispel the romantic images of Welsh poets as bards or druids and blow away any preconceived mists of Celtic twilight. This poetry is full of vitality, combining old craftsmanship and daring innovation, humour and angst, the oral and the literary. The selection brings together poets of every hue: from magisterial figures like T Gwynn Jones, R Williams Parry and Saunders Lewis to folk poets such as Alun Cilie and Dic Jones; from cerebral poets Pennar Davies and Bobi Jones to popular entertainers Geraint Løvgreen and Ifor ap Glyn. There are Chaplinesque poets, rebellious and subversive ones, lyrical voices and storytellers. The variety is enormous: from Welsh performance poetry to song lyrics; from the wry social comment of Grahame Davies to the contemporary parables of Gwyneth Lewis, who writes different kinds of poems in Welsh and English. This exuberant chorus of voices from the margins of Europe proves that poetry in this minority language is far from stagnant. Poetry Book Society Recommended Translation.

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Poetry Book Society Recommendation. Ricantations will reinforce the perception of Loretta Collins Klobah as superb poetic story-teller with a compassionate and radical womanist vision, alert to the multi-layered reality of Puerto Rican life, where shiny modernity gives way to spirit presences. There are absorbingly reflective poems on Velasquez’ paintings of an hyperphagic child, painted both naked and clothed, a stray horse that hangs around the poet’s property, homunculi in glass bottles in a teaching hospital, the keeper of a butterfly farm, a high-wire circus family, and the irony of Nathan Leopold (with Loeb, the perpetrator of a famously brutal crime in the USA) becoming the expert on Puerto Rican bird life.Poems begin from the most fantastic premises – a Che Guevera club in heaven with prizes for the coolest Che impersonator – then line by rich baroque line open up her island’s secret heart, revealing a society under multiple pressures even before Hurricane Maria, about which the title poem offers a brilliantly hallucinatory picture. Love must always be mixed with despair in a society where the reckless machismo of New Year gunfire kills a young woman, and older men prey on schoolgirls.New World English and Spanish rub shoulders in these poems, but the reader soon picks up the precise, word-loving, observant rhythms of the poet’s own voice, a voice which has space for humour, as in a witty sequence of Jamaican poems about the attraction to men of women of ample size.There are more personal and intimate poems – memories of her mother’s psychiatric hospitalisation, of her own struggles with size and health, and the vulnerability of the body when a hurricane can strip life back to its hazardous basics.

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The thirty-nine poems of anima bring a distinctive, archetypal potency to the closing stages of Mario Petrucci's larger i tulips project, the 1111-strong sequence in which this sub-sequence crucially sits.Arising organically from prior modernist experiment, Petrucci's style nevertheless remains utterly contemporary. His mastery of the shape and sound of each poem makes for an intense and all-consuming experience, refocusing an array of influences through an acute lyrical sensibility. By yielding so completely to the power of linguistic transformation, these searing, necessary poems capture both the crisis and the beauty of the heart's innermost voyage."Mario Petrucci's anima is a revelation of the underside of a human heart submitting to the contradictions of love, doubt and mortality. This remarkable work reconfigures the soul as well as the mind, through language that shapes the ineffable into a visceral, triumphant poetry." Alexandra Burack, American poet and educator"The tensile delicacy of Petrucci's lines springs back with a very English baroque, Miltonic surprise: sense-ambush occurs in the next line, skewering what's gone before. Between these line-breaks rests a declamatory silence tested to snapping. This is major work to cast shadows." Álvaro de Campos [tr. Simon Jenner]"With a brio and tenderness all of their own, these new lyric poems are modernist marvels, word sculptures pared to their very essence… Petrucci's tulips promise to grow into a truly ambitious landmark body of work."Poetry Book Society Bulletin"Reminiscent of ee cummings at his best... vivid, generous and life-affirming." EnvoiMario Petrucci aspires to "Poetry on a geological scale" (Verse), whether exploring the tragedies of Chernobyl (Heavy Water, 2004) or immersing himself in heart-rending invention (i tulips, 2010).

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R.S. Thomas (1913-2000) is one of the major poets of our time, as well as one of the finest religious poets in the English language and Wales’s greatest poet. This substantial gathering of his late poems shows us the final flowering of a truly great poet still writing at the height of his powers right through his 70s and 80s. It begins with his autobiographical sequence The Echoes Return Slow, which has been unavailable for many years, and goes up to Residues, written immediately before his death at the age of 87. These powerful poems – about time and history, the self, love, the machine, the Cross and prayer – cover all of his major areas of questioning. This is R.S. Thomas in a winter light, his fury concentrated on the inhumanity of man and modern technology, his gaze absorbed by the God he felt in Nature, but finding nourishment in 'waste places'. At the same time he writes with resigned feeling and immense insight, as well as grim humour and playful irony, of isolation, ageing, marriage and 'love’s shining greenhouses'. For Thomas, 'Poetry is that / which arrives at the intellect / by way of the heart.' Collected Later Poems 1988-2000 is the sequel to R.S. Thomas’s Collected Poems 1945-1990 (Dent, 1993; Phoenix Press, 1995), which only covers his collections up to Experimenting with an Amen (1986). It reprints in full the contents of R.S. Thomas’s last five collections, The Echoes Return Slow (Macmillan, 1988: unavailable for many years), and Bloodaxe’s Counterpoint (1990), Mass for Hard Times (1992), No Truce with the Furies (1995) and the posthumously published Residues (2002). It was a Poetry Book Society Recommendation. It was followed in 2013 by Uncollected Poems and in 2016 by Too Brave to Dream.

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Harry Martinson (1904-78) sailed the oceans from 1920 to 1927 as an escape from an unhappy childhood in rural southwest Sweden. Returning to his native tracts, he devoted himself to writing and eventually became one of the best-known authors of his time, his books appealing widely both to academics and to the general reader. His election to the Swedish Academy in 1949 was seen as a gesture towards a generation of more or less self-educated working-class writers, and he shared the 1974 Nobel Prize in Literature with novelist Eyvind Johnson. Sections of the Swedish press responded with such vehemence to the way Academicians had rewarded two of their own that Martinson vowed never to publish again, and his last years were darkened by despair and depression as his view of the world became bleaker. His books reflect his upbringing, his travels and his interest in science and social questions. His poetry has many strands but the one most often admired is that which combines close scrutiny of the small events of the natural world with an intense awareness of cosmic distances in time and space. While his prose books have reached a wide readership in several languages, Martinson's poems have appeared only sporadically in English. Robin Fulton's translations provide the first substantial selection of Harry Martinson's poetry for English-language readers. His edition has an introductory essay by Staffan Soderblom, was a Poetry Book Society Recommended Translation and won him the Bernard Shaw Prize for Swedish Translation.

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Ruth Stone once said, ‘I decided very early on not to write like other people.’ What Love Comes To shows the fruits of this resolve in the lifetime’s work of a true American original. The winner of the National Book Award at the age of 87, Ruth Stone was still writing extraordinary poetry well into her 90s. This comprehensive selection includes early formal lyrics, fierce feminist and political poems, and meditations on her husband’s suicide, on love, loss, blindness and ageing. What Love Comes To opens up her own particular world of serious laughter; of uncertainty and insight; of mystery and acceptance. It is a Poetry Book Society Recommendation. The book has a foreword by Sharon Olds, who ‘had the joy of meeting Ruth Stone’ as a teenager, a later encounter giving her ‘a vision of a genius at work’: ‘Ruth Stone’s poems are mysterious, hilarious, powerful. They are understandable, often with a very clear surface, but not simple – their intelligence is crackling and complex… She is a poet of great humor – mockery even – and a bold eye, not obedient. There is also disrespect in her poems, a taken freedom, that feels to me like a strength of the disenfranchised. Ruth’s poems are direct and lissome, her plainness is elegant and shapely, her music is basic, classical: it feels as real as the movement of matter. When we hear a Stone first line, it is as if we have been hearing this voice in our head all day, and just now the words become audible. She is a seer, easily speaking clear truths somehow unmentioned until now… She has a tragic deadpan humor: love and destruction are right next to each other…’

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Dual language Chinese-English edition translated by Brian Holton. Before and since his enforced exile from 1989, Yang Lian has been one of the most innovative and influential poets in China. Widely hailed in America and Europe as a highly individual voice in world literature, he has been translated into many languages. Narrative Poem, Yang Lian's most personal work to date, is built around a series of family photographs, the first of which was taken on the day when he was born, on 22 February 1955, and the last of which dates from the time he spent undergoing 're-education through labour' - and digging graves - during the mid-1970s. The poetry ranges backward and forward in time, covering his childhood and youth, his first period of exile in New Zealand, and his subsequent adventures and travels in and around Europe and elsewhere. In 'this unseen structure written by a ghost' Yang Lian weaves together lived experience with meditations on time, consciousness, history, language, memory and desire, in a search for new/old ways of speaking, thinking and living. Narrative Poem, or (Xushishi), was published in China in 2011, and this bilingual edition presents the Chinese text alongside Brian Holton's masterly translation of a technically complex work of great beauty, The book also includes Family Tradition, Yang Lian's first ever preface to his own work, and Ghost Composer/Ghost Translator, a translator's afterword by Brian Holton. 'Trees that desire silence but cannot be silent will murmur at their lack of Samadhibala, the meditator's gentle strength of will. At the same time, the winds of Family Tradition will not cease blowing. I believe they never will.' - Yang Lian (in Family Tradition). Poetry Book Society Recommended Translation.

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W.S. Merwin was arguably the most influential American poet of the last half-century – an artist who transfigured and reinvigorated the vision of poetry for our time. An essential voice in modern American literature, he was United States Poet Laureate in 2010-11. Merwin composed the poems of Garden Time as he was losing his eyesight. When he could no longer see well enough to write, he dictated the poems to his wife, Paula. In this gorgeous, mindful and life-affirming book, he channels energy from animated sounds and memories to remind us that ‘the only hope is to be the daylight’. This late collection written in his late-80s finds him deeply immersed in reflection on the passage of time and the frailty and sustaining power of memory. Switching between past and present, he shows us a powerful and moving vision of the eternal, focusing on images of mornings, sunsets, shifting seasons, stars, birds and insects to capture the connectedness of time, space and the natural world. In a poem about Li Po, ‘now there is only the river / that was always on its own way’. In another poem he dreams that ‘the same river is still here / the house is the old house and I am here in the morning / in the sunlight and the same bird is singing’. He remembers when ‘dragonflies were as common as sunlight / hovering in their own days’ and recalls ‘a house that had been left to its own silence / for half a century’. In a poem of wonder entitled ‘Variations to the Accompaniment of a Cloud’, he writes: ‘I keep looking for what has always been mine / searching for it even as I / think of leaving it.’ Poetry Book Society Recommendation

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Peter Levi (1931-2000) was one of the most romantic and complicated of twentieth-century Oxford characters. Although descended on his father's side from Jewish carpet-merchants in Constantinople, he was brought up a Catholic and was a Jesuit from late adolescence until he left to marry at the age of 45. Part-way through his training for the priesthood, Levi joined the small Jesuit intellectual elite as an undergraduate at Campion Hall, Oxford. Already a compulsive poet, he made literary friends and experimented with hard, bright lyrics on a variety of themes. His first collection, From the Gravel Ponds, was Poetry Book Society choice for spring 1960. From then onwards he maintained an uneasy balance as a Jesuit, tolerated for his literary activities but always subject to disciplinary correction. When, in 1963, his seniors declared that he had broken so many rules that he could not be ordained that year, he persuaded them to let him visit Greece. That summer he fell in love with the country and formed lasting friendships with several Greek poets. As classics tutor at Campion Hall from 1965 to 1977, he was an intriguing figure to many undergraduates.Intolerant of Oxford damp, he was allowed to spend winters in Greece. From 1967 onwards he passionately supported the resistance to the junta; twice banned from Greece, he later made a television documentary about the evils of the regime. After leaving the Jesuits he wrote autobiographical works, translations, thrillers and elegiac verse, supplementing his literary earnings with casual tuition. Elected Oxford Professor of Poetry in 1984, he used his lectures to convey his enthusiasm for the work of other poets, from Shakespeare to Pasternak, Larkin, Lowell and his defeated electoral rival and former pupil James Fenton. This deeply researched, sensitively written biography explores Levi's many friendships, with figures such as Cyril Connolly, George Seferis, David Jones, Iris Murdoch, Patrick Leigh Fermor and Bruce Chatwin. It relates his poetic development to an intense emotional life, in which love, often concealed in landscape imagery, eventually won out against religious inhibition.

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Ko Un has long been a living legend in Korea, both as a poet and as a person. Allen Ginsberg once wrote, 'Ko Un is a magnificent poet, combination of Buddhist cognoscente, passionate political libertarian, and naturalist historian.' Maninbo (Ten Thousand Lives) is the title of a remarkable collection of poems by Ko Un, filling thirty volumes, a total of 4001 poems containing the names of 5600 people, which took 30 years to complete. Ko Un first conceived the idea while confined in a solitary cell upon his arrest in May 1980, the first volumes appeared in 1986, and the project was completed 25 years after publication began, in 2010. Unsure whether he might be executed or not, he found his mind filling with memories of the people he had met or heard of during his life. Finally, he made a vow that, if he were released from prison, he would write poems about each of them. In part this would be a means of rescuing from oblivion countless lives that would otherwise be lost, and also it would serve to offer a vision of the history of Korea as it has been lived by its entire population through the centuries. A selection from the first 10 volumes of Maninbo relating to Ko Un's village childhood was published in the US in 2006 by Green Integer under the title Ten Thousand Lives. This edition is a selection from volumes 11 to 20, with the last half of the book focused on the sufferings of the Korean people during the Korean War. Essentially narrative, each poem offers a brief glimpse of an individual's life. Some span an entire existence, some relate a brief moment. Some are celebrations of remarkable lives, others recall terrible events and inhuman beings. Some poems are humorous, others are dark commemorations of unthinkable incidents. They span the whole of Korean history, from earliest pre-history to the present time. Poetry Book Society Recommended Translation.

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Poetry Book Society Recommended Translation. Rabindranath Tagore (1861-1941) is India's greatest modern poet and the most brilliant creative genius produced by the Indian Renaissance. As well as poetry, he wrote songs, stories and novels, plays, essays, memoirs and travelogues. He was both a restless innovator and a superb craftsman, and the Bengali language attained great beauty and power in his hands. He created his own genre of dance drama and is one of the most important visual artists of modern India. He won the Nobel Prize for Literature in 1913. Tagore's poetry has an impressive wholeness: a magnificent loving warmth, a compassionate humanity, a delicate sensuousness, an intense sense of kinship with nature and a burning awareness of man's place in the universe. He moves with effortless ease from the literal to the symbolic, from the part of the whole, from a tiny detail to the vast cosmos. He is religious in the deepest sense, wavering between a faith that sustains the spirit in times of crisis - or fills it with energy and joy in times of happiness - and a profound questioning that can find no enduring answers. To him the earth is a vulnerable mother who clings to all her offspring, saying 'I won't let you go' to the tiniest blade of grass that springs from her womb, but who is powerless to prevent the decay and death of her children. This is the revised and enlarged second edition of a substantial selection of Tagore's poems and songs translated with an illustrated introduction, notes and glossary by the bilingual writer Ketaki Kushari Dyson, who lives in Oxford. Poet, novelist, playwright, translator, linguist and critic, she is one of the outstanding Bengali writers of her generation, and has published more than thirty titles in her two languages, including acclaimed scholarly works on Tagore.

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Winner of the Lucien Stryk Asian Translation Prize 2023. Shortlisted for the National Translation Award in Poetry 2023 by the American Literary Translators Association. The Poetry Book Society Spring 2022 Translation Choice. Chinese poetry is unique in world literature in that it was written for the best part of 3,000 years by exiles, and Chinese history can be read as a matter of course in the words of poets. In this collection from the Tang Dynasty are poems of war and peace, flight and refuge but above all they are plain-spoken, everyday poems; classics that are everyday timeless, a poetry conceived "to teach the least and the most, the literacy of the heart in a barbarous world," says the translator. C.D. Wright has written of Wong May's work that it is "quirky, unaffectedly well-informed, capacious, and unpredictable in [its] concerns and procedures," qualities which are evident too in every page of her new book, a translation of Du Fu and Li Bai and Wang Wei, and many others whose work is less well known in English. In a vividly picaresque afterword, Wong May dwells on the defining characteristics of these poets, and how they lived and wrote in dark times. This translator's journal is accompanied and prompted by a further marginal voice, who is figured as the rhino: "The Rhino in Tang China held a special place," she writes, "much like the unicorn in medieval Europe - not as conventional as the phoenix or the dragon but a magical being; an original spirit", a fitting guide to China's murky, tumultuous Middle Ages, that were also its Golden Age of Poetry, and to this truly original book of encounters, whose every turn is illuminating and revelatory.

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Poetry Book Society Recommended Translation Irish-English dual language edition This is the first comprehensive critical anthology of modern poetry in Irish with English translations. It forms a sequel to Seán Ó Tuama and Thomas Kinsella's pioneering anthology, An Duanaire 1600-1900 / Poems of the Dispossessed (1981), but features many more poems in covering the work of 26 poets from the past century. It includes poems by Pádraig Mac Piarais and Liam S. Gógan from the revival period (1893-1939), and a generous selection from the work of Máirtín Ó Direáin, Seán Ó Ríordáin and Máire Mhac an tSaoi, who transformed writing in Irish in the decades following the Second World War, before the Innti poets – Michael Davitt, Liam Ó Muirthile, Nuala Ní Dhomhnaill, Cathal Ó Searcaigh, Biddy Jenkinson – and others developed new possibilities for poetry in Irish in the 1970s and 80s. It also includes work by more recent poets such as Colm Breathnach, Gearóid Mac Lochlainn, Micheál Ó Cuaig and Áine Ní Ghlinn. The anthology has translations by some of Ireland's most distinguished poets and translators, including Valentine Iremonger, Michael Hartnett, Paul Muldoon, Eiléan Ní Chuilleanáin, Bernard O'Donoghue, Maurice Riordan, Peter Sirr, David Wheatley and Mary O'Donoghue, most of them newly commissioned for this project. Many of the poems, including Eoghan Ó Tuairisc's anguished response to the bombing of Hiroshima, 'Aifreann na marbh' [Mass for the dead] have not previously been available in English. In addition to presenting some of the best poetry in Irish written since 1900, the anthology challenges the extent to which writing in Irish has been underrepresented in collections of modern and contemporary Irish poetry. In his introduction and notes, Louis de Paor argues that Irish language poetry should be evaluated according to its own rigorous aesthetic rather than as a subsidiary of the dominant Anglophone tradition of Irish writing. Irish-English dual language edition co-published with Clo Iar-Chonnachta. [Leabhar na hAthghabhala is pronounced Lee-owr-rr ne hathar-bvola].

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Sri Lanka has thrilled the foreign imagination as a land of infinite possibility. Portuguese, Dutch and British colonisers envisioned an island of gems and pearls, a stopping-point on the Silk Road; tourists today are sold a vision of golden beaches and swaying palm trees, delicious food and smiling locals. This favours the south of the island over the north rebuilt piecemeal after the end of the civil war in 2009, and erases a history of war crimes, illicit assassination of activists and journalists, subjugation of minorities, and a legacy of governmental corruption that has now led the country into economic and social crisis. This first ever anthology of Sri Lankan and diasporic poetry – many exiles refuse to identify as “Sri Lankan” – features over a hundred poets writing in English, or translated from Tamil and Sinhala. It brings to light a long-neglected national literature, and reshapes our understanding of migrational poetics and the poetics of atrocity. Poets long out of print appear beside exciting new talents; works written in the country converse with poetry from the UK, the US, Canada and Australia. Poems in traditional and in open forms, concrete poems, spoken word poems, and experimental post-lyric hybrids of poetry and prose, appear with an introduction explaining Sri Lanka’s history. There are poems here about love, art, nature – and others exploring critical events: the Marxist JVP insurrections of the 1970s and 80s, the 2004 tsunami and its aftermath, recent bombings linked with the demonisation of Muslim communities. The civil war between the government and the separatist Tamil Tigers is a haunting and continual presence. A poetry of witness challenges those who would erase, rather than enquire into, the country’s troubled past. This anthology affirms the imperative to remember, whether this relates to folk practices suppressed by colonisers, or more recent events erased from the record by Sinhalese nationalists. Poetry Book Society Special Commendation.

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A Poetry Book Society Special Commendation Autumn 2022. [To] The Last [Be] Human collects four extraordinary poetry books—Sea Change, PLACE, fast, and Runaway—by Pulitzer Prize winner Jorie Graham. From the introduction by Robert Macfarlane: The earliest of the poems in this tetralogy were written at 373 parts per million of atmospheric CO2, and the most recent at 414 parts per million; that is to say, in the old calendar, 2002 and 2020 respectively. The body of work gathered here stands as an extraordinary lyric record of those eighteen calamitous years: a glittering, teeming Anthropocene journal, rife with hope and raw with loss, lush and sparse, hard to parse and hugely powerful to experience. Graham's poems are turned to face our planet's deep-time future, and their shadows are cast by the long light of the will-have-been. But they are made of more durable materials than granite and concrete, and their tasks are of record as well as warning: to preserve what it has felt like to be a human in these accelerated years when "the future / takes shape / too quickly", when we are entering "a time / beyond belief". They know, these poems, and what they tell is precise to their form... Sometimes they are made of ragged, hurting, hurtling, and body-fleeing language; other times they celebrate the sheer, shocking, heart-stopping gift of the given world, seeing light, tree, sea, skin, and star as a "whirling robe humming with firstness". To read these four twenty-first-century books together in a single volume is to experience vastly complex patterns forming and reforming in mind, eye, and ear. These poems sing within themselves, between one another, and across collections, and the song that joins them all is uttered simply in the first lines of the last poem of the last book: The earth said remember me. The earth said don't let go, said it one day when I was accidentally listening

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Highly Commended by The Forward Prize 2010At once erudite, humourous and stylishly contemporary, Sarah Hesketh's debut collection invokes a world of frozen lakes, 'snow-spun streets' and people who have stayed too long.With formal control and precise, crafted language, these poems examine the 'small relics of lives': china horses in an old people's home, a caged bird, the thighbone of a Saxon saint. Drawing from myth, history and a close reading of the present, Napoleon's Travelling Bookshelf is an impressive and engaging journey into love, identity and what it is to be alone – 'lost from sight / behind the ice-mapped waves'."What Sarah Hesketh's poems do so remarkably is to string a row of images together in such a way that each keeps its distinct hardness while at the same time contributing to a crystalline whole. They are original and utterly convincing."Bernard O'Donoghue"Sarah Hesketh writes superbly crafted poems with a very firm hand. Her poems are overflowing with intelligence and scorn for the easy and the clichéd, but her ear is as keen as her passion for the right word, the properly perceived state of affairs. When she writes lines like: 'I am content to form / the small oh of glory, / to add a little polish / to your morning epaulettes' (in 'Faking') you know that the irony you are dealing with is as intricate as lace but as sharp as daggers. Her terrain is not, to extend our analogies, exactly Jane Austen's 'two inches of ivory' because Hesketh's imagination ranges far and wide into some fairly exotic real and literary spaces, but the sense of ivory is there, as is the fierce, delicate carving. It is a melancholy but rigorously beautiful world her poems describe. We also know that every tiny part of every line has been fiercely fought for and that that is the source of the authority."George Szirtes"Hesketh's first collection is a striking debut, abounding in verve and rigour. In stark, lucid language, pared to the bone, summoning images that are sometimes cryptic yet always singing, Hesketh whirls us through a breathless breadth of forms, subjects and perspectives, from an old woman "forever remembering the waltz" in 'The Ballroom at West Riding Asylum' to 'The Boy Who read Homer to His Cat', juggling a giddying array of themes and allusions, often in the same poem, such as in 'Chaconne for Ice', where Roald Amundsen and Neil Diamond meet cheek by jowl for the first and probably only time. There is a real musicality to Hesketh's writing, imbuing her whittled words with a rhythmic vitality that is utterly compelling. A fine first collection from an exciting new poet."Poetry Book Society BulletinSarah Hesketh was born in 1983 and grew up in Pendle, East Lancashire. She attended Merton College, Oxford and holds an MA in Creative Writing from UEA. In 2007 her collaboration with composer Alastair Caplin was performed at the Leeds Lieder Festival. She currently works as Assistant Director at the writers' charity English PEN.

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