Search results for ""carcanet press ltd""

Beginning in America, this is a sensual celebration of the varied relationships that make up lives richly lived: from the subtle, intimate interactions of close family members and lovers, to the mutual rewards and stresses of relationships with friends, therapists, students and housemates.

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This new collection of poems and translations from the award-winning poet and scholar, Christopher Middleton, subverts accepted truths with dazzling incision and encounters an array of fascinating characters.

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Asked what problems most perplexed "young men at present" Arthur Hugh Clough (1819-1861) replied "a growing sense of discrepancy". His wry and wise poetry explores the tensions of a time of radical changes in the religious, political and literary landscape. He had a sharp eye for absurdity. Clough was a writer of wide interests and liberal sympathies, vividly idiomatic and sensuous, delighting in the detail and variety of everyday life. His technical dexterity is a delight: the poems encompass satire and lyric, dialogue, plot and contemporary reference. His narrative poem "The Bothie of Tober-Na-Vuolich" and the epistolary "Amours de Voyage" have the momentum and social precision of novels, capturing a precise image of the Victorian world of the 1840s. This volume includes a selection of the full range of Clough's poetry, with a detailed introduction and annotations by Shirley Chew.

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Henry Howard, Earl of Surrey was known to his contemporaries as "the most accomplished gentleman of his age", noble, learned and elegant. A man of his time, at the centre of the dangerous power games of the court of Henry VIII, Surrey was beheaded for his role in a conspiracy over the succession. His poetry reflects that world, in its idealisation of the aristocratic virtues of chivalry and honour, its rich language and formal sophistication. Immensely influential in literary history for his development of blank verse and the Petrarchan sonnet form in English, and as the first modern translator of Virgil, Surrey is revealed in this selection as a subtle and graceful poet, and a translator whose vigorous and faithful versions of the Aeneid continue to enrich the literary tradition.

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This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

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Edwin Morgan was appointed Poet Laureate of Glasgow in 1999, and many of these poems reflect the life of the city both now and in the past. But equally the poetry moves to other places and other worlds. A sequence of poems about a demon allows the mind to expatiate on a wide range of subjects.

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An exploration of concepts of art and womanhood, of what it means for Boland to be a woman poet, finding her own voice within a tradition.

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Donald Davie is a poet of the English perspective refracted through historical meditation, essay-poem, love lyric, satire, translation (notably the Psalter), epistle, eclogue and other forms. His passion is for our common language, its registers and tonalities.

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To mark John Ashbery's 70th birthday, Carcanet publish his first five books of poems in a single volume: "The Tennis Court Oath" (1962); "Same Trees" (1956); "Rivers and Mountains" (1966); "The Double Dream of Spring" (1970); and "Three Poems" (1972).

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By the winner of the 2013 T S Eliot Prize and the 1990 Patrick Kavanagh Award for Poetry. This book of poems is organized around the theme of the journey: from communism to spiritual affirmation; from life in Ireland to life abroad, and return; and from the security of given structures to independence and security in the self.

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This collection provides a range of romantic ironies. Sophie Hannah's poems move beyond satire to the heart of modern matter: loves, lusts, losses, and the foibles of contemporary life.

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This is the first of a two-volume selection of short fiction from Portugal, drawing on late-19th and 20th-century novellas and stories. The text concentrates on writing from before World War II. Included are: Eca de Queiros's "The Idiosyncrasies of a Young Blonde Woman"; Antonio Patricio's "Suze"; Fernando Pessoa's "The Anarchist Banker"; Irene Lisboa's "The Lover"; and Jose Rodrigues Migueis's "Leah".

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The Communicado Theatre's production of this verse rendering won the Edinburgh Fringe First award at the 1992 Festival, and has gone on to tour Scotland and England in 1992-3. Edwin Morgan provides an introduction, which sets the play in its time and discusses the style of his translation; it aims to provide insight and stimulation to a new generation of readers and playgoers.

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The definitive gathering of work by a vital figure in the British Poetry Revival.

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Sergey Stratanovsky's Muddy River is the first comprehensive English-language selection of a contemporary existentialist Russian master. Taken together, the poems express the full range of Stratanovsky's verse, drawing on seven collections that represent half a century of writing. Muddy River is the essential Anglophone introduction to Stratanovsky's oeuvre, its now satirical, now psalmic, ever-searching poetics.

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The debut collection by a contributor to the acclaimed New Poetries V anthology. Poetry Book Society Recommendation.

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The T S Eliot Prize-winning fifth collection of poems by the inaugural Belfast laureate, and one of Northern Ireland's greatest female poets.

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In "Between Two Windows", his first book of poems, Oli Hazzard takes language out to stretch and flex and bend itself into new shapes. Into the formal straits of sestinas, sonnets and pantoums stray palindromes, mirrored poems, anagrams, allusions and curiosities. His lyrics and satires dance in the spaces that open up between intention and expression, the moment when the horse attempts to throw its rider.

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In the five volumes of poetry he has published since 1989, Peter McDonald explores an intimately known territory that becomes strange: pulled out of shape by history, made unfamiliar by distance, made new by the attentive imagination. McDonald's "Collected Poems" is a sustained meditation on place and belonging, loss and love. The classical world is a haunting presence; the landscape of McDonald's poems resonates with past voices, with memories and acts of remembrance. The assured and scrupulous craft that creates the telling detail, the unsettling depth, has made him one of the most important Northern Irish writers of his generation.

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Each poem in Catalan writer Ernest Farres' "Edward Hopper" is based on a painting by the American artist. Creating a narrative that follows a subject from small-town origins to big-city life, from youth to age, the story is Hopper's, yet it also belongs to Farres. The ventriloquist slips, revealing his larger concerns: Farres is using the paintings to tell a story of modernity. Lawrence Venuti's translations recreate the heterogeneous language of Farres' poetry in an American vernacular that samples Hopper's actual speech and writing. Farres' book becomes in English what it is for Catalan readers: remarkable in ambition, wit, and in its probing interpretations of the visual imagination.

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Indonesia, South Africa, Estonia, Lithuania, Shetland, Nicaragua: many worlds meet in these poems as nature dyes Sujata Bhatt's many languages with its own hues. The real merges with the surreal, certainties are undone in an open-ended quest. A Chinese cook ignores a predatory snake, a heart surgeon lives most intensely between operations, Gregor Samsa's sister proposes a different sort of metamorphosis, someone listens to the Holy Ghost sing, a woman hears her daughter's voice in birdsong - and the 'poppies in translation' mutate according to the languages and histories they inhabit, ultimately persisting in a space beyond language. At times, language itself is injured by history: Bhatt reimagines the 'haunted undertow' of post-war German as experienced by Paul Celan and Ingeborg Bachmann. Meanwhile, the poppies are ever-present, 'with their black souls in the wind'.

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'We needed coffee but we'd got ourselves convinced that the later we left it the better it would taste, and, as the country grew flatter and the roads became quiet and dusk began to colour the sky, you could guess from the way we returned the radio and unfolded the map or commented on the view that the tang of determination had overtaken our thoughts, and when, fidgety and untalkative but almost home, we drew up outside the all-night restaurant, it felt like we might just stay in the car, listening to the engine and the gentle sound of the wind'. From its title, which runs to 101 words in full, to its wordless concrete poems; from its World Cup fixture list to its transformations of four-letter words, "We needed coffee but..." is audacious, mischievous, even outrageous. As in his award-winning first collection "The Book of Matthew", the poet attends precisely to each detail: the rhythms are musical but unexpected; the brightness control on imagery is turned up high. New in this book is the emphasis on collaboration. Some of this work began in text pieces for art exhibitions or as song-cycle lyrics.Other poems respond to the influences of Gertrude Stein, Raymond Queneau, Inger Christensen, dom silvester houedard, Yoko Ono and Gyorgy Ligeti. Matthew Welton turns rigorous control into a dancing display of wit: we become his collaborators in the shared delight that inventive poetry can contrive.

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The debut English-language collection from a Ukrainian poet reflecting on her experiences of the invasion of her homeland.

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From Sussex to Mexico, the poems in Rebecca Hurst's debut collection travel far and wide, documenting tensions between embodied and inherited landscapes.

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Isabel Galleymore's second book is a collection of ecopoetry that explores cuteness, care and commodification in an age of hyper-capitalism and environmental crisis.

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Four book-length poems respond to the experience of walking in the wild landscapes of the highlands and islands of Scotland.

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The March-April 2022 issue; Major interview with American poet Carl Philips; Nuash Sabah, editor of Poetry Birmingham, in conversation; Frederic Raphael writes to Wittgenstein; Isobel Williams adds to her Shibari Catullus; John Clegg discovers Mrs Bleaney; New to PN Review this issue: Wendelin Wai C. Law, Alex Macdonald, Nuash Sabah and Colin Bramwell; and more...

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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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The Extasie is a compelling book of love poems with its lyrical roots deep in the sixteenth and seventeenth centuries and the rural traditions of the nineteenth. Among New Zealand poet John Gallas's spirit guides are John Clare and, in particular, Wyatt and Donne, writers from our poetry's wittiest and most ecstatic age. But the book's heart is set firmly in the twenty-first century. Its two parts follow the seasons of a revelatory love through different weathers and forms. The poems follow the sequence of their composition, so we register the intimacies, forced separations, complexities and climaxes as on a lyrical fever chart. Things are never still or static, everywhere is growth and wonder - birds, tides, skies, trees, sheep, planets and flowers: a celebration of the natural world, and a seeing together. The eye of the poet is always turned to the world: how the world is seen and felt is a sufficient record of the partners' intimacy. Gallas's language is marked by vigorous verbs, arresting inversions, a world of process and mutation, of transformation about one constant belief. It is hard to find poetry so at ease and at home with the particular detail of rural England, of a Lincolnshire and Norfolk imbued with their own histories and a new-made sense of place.

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An Irish Times Best Poetry Books of 2021. This is how the witness ends: touch, withdraw; touch again. 'American Goshawk', the opening poem in this collection, concludes with these words. The word 'witness' comes with a wealth of meanings. The poems are, at one level, acute observations of the world in its physical and dramatic detail. But eye and ear detect, in what is there, shadows and figures of what is beyond, what imparts to the things perceived their deeper form, significance and beauty. Such seeing is a craft, a form of translation that engages not just the surface but the essence of what is seen, what the poet calls 'eye-proofs of the epiphenomenal world'. The ophthalmologist in 'A Mystic's Guide to Arches' keeps asking, 'Can you see this?' And we can, seeing it more fully each time we re-read the poem and the separate things configure into a single, powerful seeing. Language obscures - until it releases what it names to the senses. The Earliest Witnesses is G.C. Waldrep's British debut.

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Shortlisted for The 2019 Forward Prize for Best Collection. City of Departures is Helen Tookey’s second Carcanet collection, following her 2014 Missel-Child, an `exceptional volume … from a powerful and intelligent imagination’ (Jeffrey Wainwright). City of Departures is a collection of uncanny spaces and fleeting encounters, an urban patchwork of glimpsed moments and chance affiliations. Through them, Tookey explores the ways in which we create meaning and connection in these kinds of spaces, and how the nature of those connections—often temporary and provisional—affects who we are, and who we are becoming. Tookey’s work has a new formal inventiveness and experimental temperament. The collection mixes prose and verse, and a multitude of voices and structures mingle on its pages. The poems connect through repeated images, themes and tones, which echo and re-echo. Their loci are neglected houses and gardens, canals, wrecked boats… liminal worlds where absence has a presence of its own, fertile ground for ghosts, fantasies, memories, and dreams.

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Later Emperors is four poems, each of which approaches Roman history from a very different perspective. It is also four voices, each one concerned with the living and the dead: voices of historians and moralists, voices of great (and not so great) emperors. Jones has written a book which is all the more for our time because it looks so clearly at other times and identifies in them familiar patterns, difficulties, ambitions and desires. History becomes a crystal ball in which the past chides the future, the same mistakes predicted and made again, the same injustices repeated. The Byzantine historians Michael Psellos and Anna Komnene reveal themselves as the significant chroniclers they always were. The book concludes with a retelling of Plutarch's 'Consolatio Ad Uxorem', in which Jones considers what we might hold on to in a world of suffering.

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Longlisted for the Best Translated Book Award 2020. Spain's greatest living poet, Pere Gimferrer (b.1945) has written more than thirty books spanning verse, fiction, essay, and criticism. His earliest writings appeared in Spanish. In 1970 he began publishing in Catalan, and has alternated between the two languages since (with occasional forays into French and Italian). The present collection, the first book-length publication of Gimferrer's Catalan poetry in English, brings together work from all phases of his career. His poetry is a marvel of syncretism: Billie Holiday, the medieval polymath Ramon Llull, Ezra Pound, and the artist Tapies all appear in his pages. His style draws equally on modernism, on Galician-Portuguese love lyrics, on Gongora and on the Valencian metaphysical poet Ausias March. Rounding out the volume is a selection from the Dietari, an artistic diary that outlines his poetics and his sense of the artist's vocation through a series of meditations on Casanova, Octavio Paz and others.

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Gathered from over thirty years of work, the poems in this generous selection strike a dynamic balance of honesty, emotion, intellectual depth and otherworldly resonance - in Gizzi's work, poetry itself becomes a primary ground of human experience. Haunted, vibrant and saturated with luminous detail, Gizzi enlists the American vernacular in a magical and complex music. Sky Burial is an immensely valuable introduction to his work.

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Marie-Thérèse Walter was seventeen when she met Picasso. He was forty-six. These poems - as simple and direct as quick sketches - use her voice to tell the story of the relationship with Picasso and what it meant to her from its first beginnings, until the day on which she took her own life, three years after his death. The poems illuminate his love for a woman who was, as John Berger says, 'the sexually most important affair of his life'; they also, perhaps, make sense of Marie-Thérèse's love for him. Jeff Fisher's drawings animate the vivid voice of Marie-Thérèse, created with great immediacy by Julia Blackburn.

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Tripping Over Clouds issues a bold challenge to Ezra Pound’s maxim to `go in fear of abstractions’. Underpinning this is a re-imagining of abstraction as a prior state of possibility and potential from which the world and ourselves are constantly re-emerging – as abstraction to, not from. Both philosophical and fresh, the poetry trips off and back onto the page, like the fellrunner in its opening section: `to talk about / the pleasure principle / of falling downhill fastly’. Lucy Burnett’s second collection explores how we fetch up with the world in all its variety, difficulty and beauty, ranging across encounters with mountains, love, contemporary politics and visual art. Ultimately this is a poetry which asserts hope, and playfulness, as strategies for navigating an inherently changeable sense of now.

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William Carlos Williams valued Charles Tomlinson’s poetry: `He has divided his line according to a new measure learned, perhaps, for a new world. It gives a refreshing rustle or seething to the words which bespeak the entrance of a new life.’ Of all the poets of his generation, Charles Tomlinson was most alert to English and translated poetry from other worlds. The Mexican poet Octavio Paz admired how he saw `the world as event... He is fascinated – with his eyes open: a lucid fascination – by the universal busyness, the continuous generation and degeneration of things.’ Tomlinson’s take on the world is sensuous; it is also deeply thoughtful, even metaphysical. He spoke of `sensuous cerebration’ as a way of being in the world. His poems are always experimenting with impression and expression. This dynamic selection, edited by the poet and Ted Hughes Award winner David Morley, presents Tomlinson to a new generation of readers.

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Shortlisted for the 2018 Irish Times Poetry Now Award. In his fifth collection of poems, David Wheatley twins his birthplace and his current home, Ireland and Scotland, to engage issues of globalism, identity, and language. He takes inspiration from the Russian Futurist poet Velimir Khlebnikov, self-nominated President of Planet Earth, who in a state of apocalyptic rapture envisioned a new world culture, its rise and its dramatic undoing. In The President of Planet Earth Wheatley brings an experimental sensibility to bear on questions of land and territory, channelling the messianic aspirations of modernism into subversive comedy. We move between Pictish pre-history, the imaginary South American nation ofaA A aA A `Oblivia', aA A and post-independence referendum Scotland. Wheatley marries classical, Gaelic, Scots and continental traditions. He deploys several styles - prose poetry; concrete poetry; translations from Middle Irish, Latin and French; sestinas and sonnets in Scots - to heady effect. The President of Planet Earth refashions language and the world it shapes, devising a transformative poetics.

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A powerful memoir from one of China's greatest living poets in exile.

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Shortlisted for the 2017 Saltire Society Poetry Book of the Year Award. Who is Dustie-Fute? A vagrant, a hawker, a poet. A dustyfooted Scottish Orpheus. A stranger, a migrant, a ghost. In his search for Dustie-Fute, David Kinloch begins amid the Parisian floods of 1910: with the waters rising, a lonely giraffe speaks from the abandoned zoo, witness to what seems the end of the world. Other animals chime in, Dustie-Futes all, a hooved and humped chorus of watery sages. Elsewhere, two young college dudes quote Rilke at each other. Cain's wife, the Virgin Mary and that eternal stepdad St Joseph draw on memories they didn't know they had. In a series of feminist monologues, feisty biblical women seek revenge on their husbands and oppressors, before Dustie-Fute's final incarnation as a Cavafy-reading Syrian refugee. Who is Dustie-Fute? Many are, and many have been. A fellowship of strangers across time: free spirits, survivors. Kinloch's bestiary of forgotten voices spans apocalypse and salvage, elegy and humour. Mythic and erotic, his poems engage ecological disaster, LGBT art and politics, and that great resistance movement, love.

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Following the success of her T. S. Eliot Prize-nominated Over and award-winning translation of the medieval Pearl, Jane Draycott returns with her fourth collection of poems, The Occupant. With a rhythmic subtlety and metrical poise that have become hallmarks of her verse, Draycott hints at the existence of a world of dreamlike clarity underneath our own. In the National Gallery a gardener cuts away the flower from a still-life canvas to replant in his own garden; in an abandoned sanatorium a grand piano dreams of the voices and music of days past, 'rose-spotted paintwork peeling softly, half-moon fanlights rising, sinking'. At the heart of these imagined scenes the long title poem, 'The Occupant', draws on scenes proposed but left unwritten in Martinus Nijhoff's Awater. In the stifling summer air, Draycott's occupant trawls the streets of an unnamed city whose 'dead lanes keep their silence', where 'the frail expire and pale dogs whimper', as its police post notices: 'Missing: Have you seen this wind?'

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Shortlisted for the 2017 Ledbury Forte Poetry Prize For Second Collections. Sometime during the twentieth century, the self-mythology of the literary critic fused with that of the cowboy: lone outriders practising a defunct trade. In Holy Toldedo! John Clegg tracks the critic's silhouette over the dangerous, sun-drenched landscapes of New Mexico, California, Nashville, Utah, Oxford, Cambridge, and London. Here is Donald Davie listening to gospel radio in a Nashville taxi, and here is F. R. Leavis standing on a chair, 'unscrewing instead the world from round the lightbulb'. Vistas of bristlecone and citrus groves, pocked with fruit flies and rain birds, fuse with the glib-core of Oxbridge England, the university science labs where 'all three entrances felt like the back way'. Holy Toledo! is a history of English literary criticism in the twentieth century, a bestiary of the American Southwest, an unreliable guide to the desert. Generous, humorous, happily askew, Clegg's first Carcanet collection signals the flourishing of an 'emerging' poet as a major voice.

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W. H. Davies (1871 - 1940) was popularly though reductively known as the 'tramp-poet' due to his remarkable journey from vagrancy, in Britain and the United States, to considerable literary success. 'Discovered' in part by Edward Thomas, who admired his poetry, Davies became a prolific memoirist and occasional writer of fiction, criticism and drama. He is now known almost exclusively for a handful of poems and for his memoir The Autobiography of a Super-Tramp; his other writing has long been out of print. This book collects generous selections from Davies's prose memoir, poetry, and critical prose, alongside comprehensive notes. It brings back into print the work of a remarkable, controversial and unduly neglected author.

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For more than five decades Anthony Rudolf has been active as translator, critic, editor, and publisher: all in all, an enabler of writers and readers. His own poems come to him gradually, under pressure of real themes and subjects, refined by the disciplines of translation and co-translation. Reluctant to let a poem go, Rudolf loves to inhabit the process of writing and re-writing.European Hours represents a life's work severely curated. The poems, prose texts, and prose poems which make the cut, from 1964 to 2016, are diverse in form, and run parallel to his highly praised volumes of memoirs.George Mackay Brown, reviewing Rudolf in the Scotsman, noted his 'fine exact craftsmanship: no word or syllable wasted, so that each image is stark and true'. Robin Skelton in the Malahat Review spoke of his work as 'witty, precise, beautifully cadenced, and courageously exploratory'. Reflecting on his own influences, Rudolf mentions James Wright, Robert Creeley and Ian Hamilton early on; and later, Central and East European poets including Paul Celan, Miroslav Holub and Vasko Popa, as well as the American Objectivists.

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Before she published her distinguished novels, Muriel Spark first made her name as a critic and poet. Her discerning study of the poet and novelist John Masfield will therefore be doubly welcome, as an example of her earlier work, and as one of the best introductions to Masefield. With characteristic insight, Spark shows Masfield's development as a storyteller, through his early lyrics to his long narrative poems and finally his prose, together with his gift for observation of the life around him. John Masefield (1878-1967) lived a life as varied as his work. At the age of fifteen he went to sea as an apprentice in a windjammer and made the voyage round Cape Horn. The next three years he spent in New York, in a bakery, a livery stable, a saloon and a carpet factory. Back in England, he wrote for the Guardian and in the First World War served with the Red Cross. Throughout these years he had been writing poetry, and when in 1923 his Collected Poems appeared they sold over 200,000 copies. In 1930 he succeeded Robert Bridges as Poet Laureate.He was a prodigious novelist, essayist and poet; among his best known works are The Everlasting Mercy, Dauber, Reynard the Fox, Sard Marker and The Midnight Folk. 'I feel a large amount of my writing on him can be applied generally', wrote Spark in 1992: 'It is in many ways a statement of my position as a literary critic and I hope some readers will recognise it as such.'

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Moya Cannon's new collection reaches back into the long past, showing how traces left behind - textile fragments, buried thimbles, cave paintings - enable us to make imaginative connections with our distant ancestors, emphasising the commonalities of human lives lived many centuries apart.

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Dennis O'Driscoll lends his transformative vision to everyday 'bread and butter' routines and the insidious forces that imperil them. From the entertaining mixture of shorter poems which opens his eighth collection, he branches out with 'Skywriting', a visually dramatic and rhythmically vibrant sequence which paints a map of light in its varied moods and modulations. Part lamentation, part celebration, the sequence glints with interludes of sunlit repose, while also flashing a scrutinising light on darker aspects of our century and environment.

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This representative selection from the work of one of modern Greece's most fascinating poets was made shortly after his award of the Nobel Prize for Literature in 1979. It is drawn from all periods of his distinguished career and traces his development from early surrealism, in which he transforms French influence into a distinct personal voice and mythology, through the dramatic style of "The Axion Esti" with its blend of spirituality and earthiness, up to the later work in which he experiments with new modes for expressing his perennial themes. The poems are chosen, introduced and mainly translated by the leading translators of modern Greek poetry, Edmund Keeley and the late Philip Sherrard, whose collaborations also included translations of Seferis, Cavafy and Sikelianos. Other contributors to the book include George Savidis, Nanos Valaoritis and John Stathatos.

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