Search results for ""Author Seni Seneviratne""

In her fourth collection, Seni Seneviratne will extend her reputation as a fine poet whose incisive social and political concerns are matched by her meticulous care with the shape of each poem and the architecture of her collections, where individual poems are enriched by their place in the whole and their dialogue with each other. In this collection, the connecting thread is the bird, both in its observed physical otherness and as an image that carries cultural and historical resonances. In the first section of the collection, the imagery of the caged bird runs through a sequence of poems that meditate on the silenced voices of enslaved Black children, trapped as picturesque, consumerist trophies in those 18th century paintings to be found in English stately homes, which celebrate their occupants’ gaining of new wealth through the slave trade and slave-grown sugar. The second section of the collection yokes Seneviratne’s skills as a poet with her deep knowledge of the ways of birds in their natural environment – the freedom they possess in their otherness from human concerns. The final section revisits the myth of Philomena from Ovid’s Metamorphoses and puts this tongueless woman/nightingale in dialogue with the gender fluidity of Tiresias to explore different forms of silencing in history and the present. As a poet who balances careful observation with imaginative flight, Seni Seneviratne addresses both heart and mind.

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Seni Seneviratne's debut collection offers a poetic landscape that echoes themes of migration, family, love and loss and reflects her personal journey as a woman of Sri Lankan and English heritage.The poems cross oceans and centuries. In 'Cinnamon Roots' Seni Seneviratne travels from colonial Britain to Ceylon in the 15th century and back to Yorkshire in the 20th Century; in 'A Wider View' time collapses and carries her from a 21st century Leeds back to the flax mills of the 19th century; poems like 'Grandad's Insulin', based on childhood memories, place her in 1950's Yorkshire but echo links with her Sri Lankan heritage."Loss, love, memory, from Yorkshire to Sri Lanka and back, Seni Seneviratne's poems delve in and out of a complex history. These tender, moving poems weave a delicate web." Jackie KaySeni Seneviratne is a writer, singer, photographer and performer. She was born in Leeds, Yorkshire in 1951 to an English mother and Sri Lankan father. She has been writing poetry since her early teens and was first published in 1989.

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Personal heartbreak and public trauma are united in this haunting new collection from Seni Seneviratne. Her poems are both personal, enchanting lyrics of desire and political portrayals of life that has been marginalised, brutalised and lost. Each poem here catches a sadness, sometimes with the twist of a knife. Yet the sudden twists of anger and tragedy are cradled in compassion, acceptance and transcendence, and the overall effect is both compelling and soothing. The Heart of It is a tender, moving collection, full of passionate intensity and an unswerving faith in the power of reconciliation and love."These tender, moving poems weave a delicate web." – Jackie KaySeni Seneviratne was born and raised in Leeds, of English and Sri Lankan heritage. Her debut collection, Wild Cinnamon and Winter Skin, was published by Peepal Tree Press in 2007, and includes a poem which was Highly Commended by the judges in the Forward Poetry Prize. Her work was showcased in the groundbreaking Bloodaxe anthology Ten: New Poets from Spread the Word in 2010, championed by Carol Ann Duffy. Her poem 'Operation Cast Lead' was shortlisted in the 2010 Arvon International Poetry Competition. She has given readings, performances and workshops in the UK, the US, Canada, South Africa and Egypt.

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The stimulus for these poems is a collection of photographs taken of the poet’s father, originally from colonial Sri Lanka, who was serving as a radio operator in an otherwise all white platoon in the 1939-45 desert war in North Africa. As for so many who came back from war to start or resume a family life, there was a great gulf of silence, an unwillingness to speak of those experiences. The collection begins and ends in an imaginative recreation of the life suggested in those photographs, many reproduced in this collection. There is connection with a much-loved father, but also a sense of the unknowable. Speaking in the voice of the father and of the unknown photographer, poems explore the mix of male camaraderie and casual racism of that experience, but also the deep affection hinted at in the way the photographer has framed “Snowball” in his lens. From this imaginative core, poems move out to make connections with the remembered and known life of a father who died too soon, to self-reflections on the poet as remembrancer, creator and actor in the world. There are moving poems on the meaning of inherited objects – a paper-knife, letters – and inherited ways of being – the birdwatching that provides a rich source of imagery. The personal moves out to the resonances of what was, in its origins, a story of migration. Here the father’s success in finding of a home in Yorkshire is seen to contrast sharply with the tragedies of migrant deaths in the face of fortress Europe. This is a work of great beauty, whose lucid simplicity of language is married to a rich complexity of structure and the bird-flight of images that connect poem to poem. There is humour, too, in the revenant voice of the mother who inserts herself into the poet’s memory and demands in her “broad Yorkshire vowels […] ‘Why is your dad getting all the attention?’”

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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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