Search results for ""Carcanet Press Ltd""

In 1878, in London, a woman served a prison sentence for deserting two of her children, a charge she denied. Almost nothing else is known of her life or that of her husband, a dealer in 'foreign birds and curiosities', who was himself a migrant. The two children vanished from the record. This is where Fleet begins, with elusive histories and lost voices. The title suggests imperial power, conquest, traffic in commodities (which in the nineteenth century included vast numbers of exotic birds). It is shadowed by other meanings: the fleeting glimpse and swift flight; floating memories, enigmatic and insistent. Judith Willson's second book of poems was written during years when migration and displacement have become central facts of the human condition. The collection works outwards from found text – historical documents, archive materials – into other places and times. In the silences of such records, their erasures and omissions, are stories that haunt our present.

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The poems in The Gifts of Fortune, Peter McDonald's seventh book of poems, cover a spectrum of personal history. They go to Belfast, Oxford, and further afield; in time they visit the poet's pasts, his now, his possible futures. Autobiographical detail abounds: McDonald's experiences (as a workingclass boy in Belfast, who dreams of leaving, and a middleaged Oxford don, who dreams of going back) are filtered through a deep instinct for poetic tradition. At the heart of the book are two sequences: one, 'Mud', in which family, professional, and literary histories are combined in strictly formal, but personally unguarded, reflections on poetry, class, and privilege; and another, 'Blindness', where a series of tenline units test poetic form to (and beyond) breaking-point, in a meditation on family and suffering, disappointment and hope. Other poems return to themes of wealth and poverty, love and loss, and the alienation and puzzlement of age. Throughout the book, form is ghosted by the formless, hovering just beyond the frame; and Fortune vies with Fate, quite another force.

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Elegy turns into affirmation, `binding the pulse / back into the body’, in this new collection by Eric Gregory Award-winning poet Roger Garfitt. Roger Garfitt has published sparingly but always to good effect. The Action reveals the individual character of each poem and sequence, `written only when the internal pressure demands and the slow pace of craft allows’. Carol Ann Duffy observed in The Guardian that `he clearly believes, quite rightly, in the Muse and his approach has the patience of a journeyman’s to his craft’. Hard-won, but not austere, the poems are marked by tenderness and passion; quiet humour rather than irony runs through them. Sean O’Brien writes, `He is both a meticulous re-creator of, for example, the effects of light, and a sociable poet who sees place as expressive of its inhabitants… The minuteness of his attention is often rewarding… an intriguing counterpart to the more public work of Douglas Dunn and Tony Harrison.’

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`Death is a many-colored harlequin,’ Stanley Moss affirmed on his ninety-second birthday. Rosanna Warren writes of his latest poems, `Undaunted, outrageously alive, Moss flaunts more colors than the Grim Reaper ever dreamed of, laughs in his face, rhymes with abandon, makes a joyful noise unto the Lord, and struts with Baudelaire. This is a book to hold onto for dear life.’ And dear life is what Moss’s poetry has always been about, asking what John Ashbery called `unthinkable questions, but when he formulates them they take on the quiet urgency of common daylight.’ Stanley Moss has been part of the American and European scene for seven decades: a defining editor of world poetry, he is a major poet of the generation of Ashbery, Merwin, Wright and Kinnell. This book richly supplements his Almost Complete Poems (Carcanet, 2017) with recovered writings and new-minted poems that address the monsters of the age while celebrating its angels.

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Following his acclaimed Pandemonium, Thomas McCarthy’s Prophecy dwells on childhood memory, romantic love and the varieties of human attachment. Still embodying his distinctive voice and craft, in these poems McCarthy risks more prophetic moods and themes. There are poems on illness and recovery, ageing and creativity. From the community well of his childhood home in County Waterford to the holy well and pilgrim site of St Gobnait’s in County Cork, the poet finds that the act of remembering is an act of making and understanding. `All this / Metaphor and trauma and formal technique / I place in my canvas travel bag’, he writes, beginning his poetic journeys into formal Irish Gardens of Remembrance, field hospitals of the great War, the 1970s university campus of Iowa. `Along with Paul Muldoon,’ suggested Dennis O’Driscoll, McCarthy is `the most important Irish poet of his generation.’

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To mark the centenary of the First World War, a Selected Poems of Edmund Blunden brings back into print the work of a major war poet and author of the classic memoir Undertones of War. Edmund Blunden joined the Royal Sussex Regiment in 1915, and served in France and Flanders. This selection of his poems includes a substantial sampler of his war verse (the last poem he wrote was on revisiting the battlefields of the Somme). And yet, it is not easy to draw a line between the poems on war and those on other subjects, so deeply did his wartime experience suffuse and haunt his writing. Memories of what was `shrieking, dumb, defiled’ constantly test a vision of `faith, life, virtue in the sun’. Here is a poet of range and depth deserving of rediscovery.

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The Collected Poems (Second Impression) of Jamaica's Poet Laureate (2017-2020) and winner of The Queen's Gold Medal for Poetry 2019. Lorna Goodison is a poet alive to places, from the loved and lived-in world of Jamaica where she began and started a family, to the United States and Canada where she has made her teaching career, but always re-connecting with her Caribbean roots. She travels with an ear alert to histories and voices. How differently English sounds in the tropics and in colder lands, at seaside in sunlight and on prairies, mountains and in cities. The same words say quite different things, depending on who speaks them and who's listening, obeying or resisting. She covers a wide range of subjects and themes, too. Her instinct is to celebrate being alive in a world that is rich but in peril. `And what is the rare quality that has gone out of poetry that these marvellous poems restore?' asks Derek Walcott. `Joy.' The `mango of poetry', eaten straight from the tree, Goodison somehow finds growing in Wordsworth country and in Sligo, in Russia and Norway, in Spain and Portugal which spilled their empires into the Caribbean, in Cape Town and Far Rockaway.

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Winner of the 2019 Seamus Heaney First Collection Prize. Ned Denny's Unearthly Toys are treacherous playthings, as rigorously structured as they are thematically unsettling, a `rhapsody of rags gathered from several dung-hills, excrements of authors, toys and fopperies confusedly tumbled about' (as Robert Burton dubbed his Anatomy of Melancholy). The collection opens on a twilit, numinous world of exotic drugs, subterranean drums and visionary apprehension in which - to quote Twin Peaks, a recurrent leitmotif - `the woods are wondrous ... but strange'. Interspersed with original poems in a variety of complex forms is a series of illuminated and darkly erotic `remakes' of other poets' work, from the Old English classic The Wanderer to late Baudelaire via Goethe, Cavalcanti, Li Po, enigmatic troubadour lyrics, and the medieval abbess Hildegard von Bingen. Politics are never far away: modern man's severance from the earth, the sacred, and his own inner self has grave consequences.

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In his bold new collection, David Morley, winner of the Ted Hughes Award, casts off the worlds of myth and magical fable to focus on the fiercely personal. `Love teaches you how to mind / And how to mend’, he writes in `After a Song by Gustav Mahler’. In The Magic of What’s There Morley uses his eye for precise detail and his linguistic invention to explore childhood suffering and, in counterbalance, the joys of love, friendship and parenthood. He finds the elements of epic in the everyday, navigating the complex connections between past and present selves. His poems acknowledge our capacity for cruelty, but also for love, tenderness and mercy.

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A Full Cone is Miles Champion's second Carcanet volume. It features a substantial body of new work as well as a selection of earlier writing hitherto unavailable in the UK. 'It has often been noted that the pace at which Miles Champion's brilliantly intelligent poems unfold is rapid. Ideas and images tumble into words and the words become present as moments of conceptual or emotional consequence. But, though high velocity is in the making of the poems, there is no swift taking away. The moments aren't rescinded; the poems are not a demonstration of lyric evanescence. Champion's work, rather, is about phenomenological consequence, and consequence lingers, lasts. This is a collection of monumental significance—and the work is gorgeous.' —Lyn Hejinian

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Shortlisted for the 2017 Saltire Society Poetry Book of the Year Award. In Farm by the Shore, Thomas A Clark continues his investigations into the landscape and culture of the Scottish highlands and islands. His brief notations and fragments embody the precarious balance between sea and land, wilderness and civilisation, while everything is played out in a context of weather. The spaces between the poems, which both link and divide them, are shades of quiet, indications of time or distance, or graphs of the vagaries of attention. In such a climate, to farm, or walk, or write, is to persist. You come to one thing and then another.

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Moss is oceanic: his poems rise, crest, crash, and rise again like waves. His voice echoes the boom of the Old Testament, the fluty trill of Greek mythology, and the gongs of Chinese rituals as he writes about love, nature, war, oppression, and the miracle of language. He addresses the God of the Jews, of the Christians, and of the Muslims with awe and familiarity, and chants to lesser gods of his own invention. In every surprising poem, every song to life, beautiful life, Moss, by turns giddy and sorrowful, expresses a sacred sensuality and an earthy holiness. Or putting it another way: here is a mind operating in open air, unimpeded by fashion or forced thematic focus, profoundly catholic in perspective, at once accessible and erudite, inevitably compelling. All of which is to recommend Mosss ability to participate in and control thoroughly these poems while resisting the impulse to center himself in them. This differentiates his beautiful work from much contemporary breast-beating. Moss is an artist who embraces the possibilities of exultation, appreciation, reconciliation, of extreme tenderness. As such he lays down a commitment to a common, worldly morality toward which all beings gravitate.

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Joint Winner of the Michael Hartnett Poetry Award 2018. In Playing the Octopus, her eighth collection of poems, Mary O'Malley's sensitivity to the spirit of Ireland's west coast is as attuned as ever. In a world both earthen and dreamlike, bodily and mythical, a trout is seen to 'swallow light through his skin', a wolf 'howls the great open vowel of his need', and in the emptiness where a tree once stood, 'a tree-shaped brightness dances'. Over the course of the collection, O'Malley twins the Irish west coast with the American east coast, Inis Mor with Coney Island, the parish with the metropolis, the pipes with the axe, each offering its own comfort and wonder. Sylvia Plath, Lois Lane and Antigone feature in an unlikely cast of heroines through which O'Malley tests the mythologies of motherhood and femininity ('no mother is ever good enough until she's dead', writes the poet, with characteristic wit). Playing the Octopus is a body of writing buoyed by the redemptive power and sustaining joy of music, and it closes with O'Malley's translations of the Irish poet Sean O Riordain and the Spaniard Federico Garcia Lorca.

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The Poetry Book Society Recommended Translation for Summer 2018. The Austrian poet and novelist Evelyn Schlag, whose 2004 Selected Poems received the coveted Schlegel Tieck Prize, returns with All under One Roof. Once more, Karen Leeder’s brilliant translations render a selection of Schlag’s most recent poems into English. The book draws on two substantial German-language collections, Sprache von einem anderen Holz (2008) and verlangsamte raserei (2014). There is also a new essay by the author in which she discusses the sources, politics and strategies of her writing. Love remains a central theme for Schlag, but an associative inward journey with new diction, and new orthography, is underway. Rüdiger Görner in Die Presse responded to the vibrancy of what he called the `Sprachpulsate’ (pulses of language): `Evelyn Schlag’s poems have a kind of discreet presence; once spoken they have claimed their permanent place in the lyric cosmos.’ Leeder’s selection traces a uniquely Austrian imagination at the heart of contemporary European poetry.

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Winner of The Seamus Heaney Centre for Poetry First Collection Prize 2017. Winner of the Shine/Strong Poetry Award 2017. Several Deer is the debut collection of a young Northern Irish poet. As much indebted to Bob Dylan and Lana Del Rey as to Emily Dickinson and George Herbert, Crothers writes about destruction, consumption, misogyny, gods, sex, failure, and rock 'n' roll. But he does so with rhythmic subtlety and verbal craftsmanship, with unmistakable technical acuity. The poems are acrobatic: homophones, mondegreens, malapropisms, paraprosdokians, antanaclasis, polyptoton and puns are juggled with dexterity. Yet, for all their craft, the poems remain empathic, sincere, abscised from the particular experience rather than plucked from the common branch, addressing real people, albeit with the cynic's ironizing compulsion. 'Now send in the clowns', ends the collection's opening poem - and so they follow: happy and sad, wise and tragic, a touch melodramatic, wilfully misunderstood. They console themselves with rhythm, with rhyme, and with riffs on literary and pop culture new and old, high and low. Above all, perhaps, it is the air of excited verbal mischief that endears the ear to Several Deer. Easily sidetracked and keen to be soundtracked, the collection doesn't take its sadness seriously. It listens to the hits.

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Sophie Hannah is one of Britain's best-loved poets, a disarmingly witty, sharp-eyed chronicler of everyday life and its peculiarities. She is also an internationally successful author of psychological crime fiction, and has written the first new Hercule Poirot novel to be authorised by the Agatha Christie estate. This book collects all of her previous collections of verse and also includes new and uncollected poems.

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This title is a Poetry Book Society recommended translation. In this generous selection of nearly half of Hauge's poetic work, Robin Fulton displays the range, variety and distinctive qualities of his poetry. Though deeply rooted in the West Norwegian landscape which he evokes so memorably, Hauge's poetry has a kinship in background and temperament with that of Robert Frost, while also sharing the wry humour and cool economy of William Carlos Williams and Brecht, whom he translated. Often epigrammatic, yet lyrical in impulse, his poems have a serenity which makes them unusually rewarding.

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A dual text edition of this work that sets Hilliard's text opposite a modern day translation.

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Features two collections by an American poet.

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Donald Davie's first two prose books (1952, 1955), available now in one volume with a new foreword, set the agenda for 'The Movement' and shaped the critical approach of two generations of readers and teachers of poetry. They have also proven of value to poets finding their way. Intended as 'two stages in one investigation', they provide a brilliantly detailed analysis of the workings of English poetry and remain, with books such as I.A. Richards's "Practical Criticism" and William Empson's "Seven Types of Ambiguity", primary critical texts, reviving attention to poetry at a technical level and, in the process, stirring awake for many readers major (and minor) writers of the late eighteenth century who require special qualities of attention. Davie remains a particularist, proving in insight after insight the deep rewards of close attention. For him poetry is a responsible art; it is not an end in itself but must always 'reek of the human'.

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Talks about failed and (less often) successful relationships, the dizzying crisis of early adulthood, leprechauns and spells and Miss Pringle's seven lovely daughters waiting to spring out of a cardboard cake, and the turnip.

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After years of literary neglect, Charlotte Smith (1749-1806) is now being recognized as a major poet and modern figure whose Romantic sensibility is an expression of a specifically female experience. This selection provides an ideal introduction to the full range of her work, from her influential sonnets and poems for children to extracts from her French Revolution poem "The Emigrants" and the full text of her astonishing masterwork "Beachy Head."

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This is the first collection by Mary O'Malley to be published by Carcanet Press. From the child colonised, to the adult journey, from Ireland to America to Southern Europe, this is a poetic exploration of love and place and the poet's only true home - the language in which he or she writes.

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Updating and correcting the earlier book, this edition features previously unknown works by Mina Loy rescued from Dada archives and avant-garde magazines. All of Loy's futurist and feminist satires are included, as are the poems from her Paris and New York periods, and the cycle of "Love Songs".

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First published in 1993, this book brings together Muriel Spark's writings on the Bronte sisters, including a selection of their letters and a selection of Emily Bronte's poems.

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The acclaimed poet Christopher Reid distils Charles Boyle's six books of poems into The Disguise: Poems 1977-2001, recovering a notable one-time poet, now known as a publisher and writer of fiction and non-fiction, from poetic neglect. Charles Boyle established a reputation as a sharp, wry, disabused observer of social mores. Paleface, published by Faber, was shortlisted for the Forward Prize, and The Age of Cardboard and String, also from Faber, was shortlisted for the T.S. Eliot Prize and the Whitbread Award. But in 2001 the well ran dry. Since the first year of the twenty-first century he has not put poetic pen to paper even once. The poems remain vital and fascinating, but they have about them also a kind of archaic cast: here we find the quintessential white male Englishness from the late twentieth century on display as if in a museum. Here too is the excitement of abroad (North Africa especially), and there are ghosts, absences, exile and evasions: in hindsight, these poems offer clues to their own disappearance after thirty notable years spent partly in the sun.

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The memories from which Fred D’Aguiar translates these poems are cultural and personal, from the anciencies of the Gilgamesh epic to the modern world, from classical philosophy to C.L.R. James and Aimé Césaire, from Asia and Europe to the new world in which their destinies are unpredictably worked out. D’Aguiar’s concluding translations are of Derek Walcott and Kamau Brathwaite, masters and remakers of language and form, from whom (among a multitude of others) he takes his bearings. This unusual integration of tributes and the ironies they provoke give Translations a radical colouring: D’Aguiar is learned; he is also wry, alert to the false notes in history and what follows from them. `The world map / Turned from red to brown to black / And blue, drained of empire.’ And he is passionate, responding always to the deep feelings of others, from desire to love, elegy to celebration.

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"The modest size of Jason Schwartz's first collection is misleading, since his fiction turns out to be grandly intrepid. Schwartz writes of family events and historical tragedies, evoking a nameless consciousness whirling through remembered facts, letters, memories - and he does so by recording not the narrative events but the traces of them that pulse within the words and memories and objects left behind ...Unlike much so-called experimental fiction, Schwartz's work contains genuine passion and invention - and an enormous appetite for challenging himself and his audience." - The New York Times

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An Aviary of Small Birds is both elegy to a stillborn son and testament to the redemptive qualities of poetry as a transformative art. The book opens at the birth, which paradoxically becomes the moment of death when, after a long labour and an emergency caesarean, the baby's heart gives out. For the mother, her body flooded with endorphins, euphoria gives way to shock, followed by an intense and visceral grief. However, just as grief itself is not linear, so too the book follows an emotional rather than a strictly chronological arc, lyric rather than narrative. At the same time, McCarthy Woolf's formal experimentation allows an intellectual and metaphysical line of enquiry to emerge. Ultimately, it is a closely felt connection with the natural world, particularly with water and birds, that allows the author to transcend the experience and honour the spirit of her son.

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This book gathers four decades of writing, published in collections from Brunizem in 1988 to Pure Lizard in 2008. It maps the poet's trajectory, following her exile from her homeland, India, and her mother tongue, Gujarati, to the landscapes and languages of the USA and then Europe. Urgent, compassionate and inventive, Bhatt's work forms a uniquely sustained project of reinvention and rediscovery.

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Inspired by Shakespeare's songs, the short poems of Emily Dickinson, and Wordsworth's "Lucy" poems, this collection of songlike poetry is based on the ubiquitous spread of weeds - like the shallow rooting plants, small poems can grow anywhere. In her seventh collection, Khalvati demonstrates a dazzling mastery of traditional forms and experiments with the Ghazal, an ancient Persian form comprised of an unrhymed couplet. Evoking three generations and geographies of women, "The Meanest Flower" reinstates the joyful, audible aspect of the lyric.

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For the first time, "The New York Poets" gathers in a single volume the best work of four extraordinary poets: Frank O'Hara, John Ashbery, Kenneth Koch, and James Schuyler. By the early 1950s all four were settled in Manhattan, collaborating, competing and encouraging each other's radical experiments with language and form. Much of their work reflects their participation in the creative energies of the New York art scene, 'the floods of paint', to quote James Schuyler, 'in whose crashing surf we all scramble'. Believing that anything could be material for a poem, they transformed American poetry with their irreverent wit and daring. Mark Ford's anthology is an essential introduction to four poets whose work has influenced poetry around the world. It includes detailed background information and a substantial bibliography.

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Averno, a crater lake in southern Italy, was for the Romans the entrance to the underworld, both gateway and impassable barrier between the living and the dead. In Louise Gluck's latest collection, Averno is the only source of heat and light in a world turned to icy winter. Ancient myth is reanimated in the desolation of Persephone's laments for the lost warmth of earthly life. Both epic and intimate in scope, "Averno" explores the enduring drama of love and death.

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This selection explores the diversity of Hugh MacDiarmid's work, from delicate lyrics derived from the Scots ballad tradition to fierce polemic. "A Drunk Man Looks at the Thistle" and "On a Raised Beach--"with a full glossary of its technical terms--are included, as are glossed Scots words at the foot of each page and an illuminating memoir by MacDiarmid's son.

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Gabriel Josipovici's acclaimed novel reissued in 2018. Josipovici's novel is based on the life of Pierre Bonnard, the painter of enchanting domestic interiors and innocently unsensual nudes. A thoughtful and deeply felt piece told in three parts from the perspectives of Bonnard's wife, daughter, and the painter himself.

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Professor Saraiva's multi-volume History of Portugal is a celebrated scholarly standard work. Yet, when he published a one-volume Historia Concisa, it proved a run-away best seller in Portugal, and the television series that went with it became a chart-topper. His latest book, produced especially for Carcanet's Aspects of Portugal series, is a history of his country, brief, acute and illuminating, written with scholarly insight and with non-specialist foreign readers specifically in mind. To this main text Ian Robertson, author of the well-known Blue Guide to Portugal, has added a historical gazeteer, brief biographies, chronological tables, maps and other elements which make this an essential Companion, the sort of book that a reader in need of accurate, brief and lucid reference will find useful, and every visitor to Portugal will find rewarding. The book is generously illustrated.

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The poems in Eavan Boland's new collection seek out the delicate intersections between generation, identity, and the deep losses inflicted by history on those who can bear them least. Exploring questions of inheritance (from mother to daughter, from generation to generation), the poems look closely at the ways in which we construct one another, and the ways in which - even without country, or settled identity - a legacy of connection and consolation can endure.

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Published to celebrate the seventieth birthday of acclaimed Irish poet Eavan Boland, this book brings together many of Boland's best known poems with her own striking photographs of her native city, Dublin. Through juxtaposition of text and image, place and memory, the book creates a unique portrait of the city: 'fragments', Boland says, 'can point at something accurately'. A Poet's Dublin also includes an introduction by Jody Allen Randolph and a conversation between Eavan Boland and Paula Meehan in which the two poets reflect on their shared city and the central role it has played in their lives and in their work.

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In Paris & Other Poems Hope Mirrlees's remarkable long poem Paris, originally published by the Hogarth Press is 1920, is published alongside later poetry, prose essays and previously unpublished work. Paris is now recognised as a 'lost modernist masterpiece', a daylong, psycho-geographical flanerie through the streets and metro tunnels of post-World War I Paris. Virginia Woolf called Paris 'obscure, indecent, and brilliant', and it has been suggested that Mirrlees experimentation with language and form had an impact on T.S. Eliot's composition of The Waste Land. Half a century later she started to publish poetry once more, work strikingly different from Paris, more formal and restrained, but with a maturity of voice and mood and touching on her later themes, including Roman Catholicism. Until the mid-1990s, Mirrlees's reputation as an early modernist poet was obscured by her cult status as author of the fantasy novel Lud-in-the-Mist (1926). With this book she is back in the poetic limelight.

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A TLS and The Irish Times Book of the Year. The Coming Thing is a brilliant long narrative poem. It is not Evans's first: she has become celebrated for work on this scale, spoken, dramatic, abundant. She has been justly acclaimed by, among others, Colm Toibin. He says of her inimitable narrative style, 'Slowly, a poem that seems animated by random thoughts and images takes on a strange, concentrated power; the lines begin to feel like pure style, the narrative voice holding and wielding the hidden energies that Martina Evans consolidates, and then releases with such energy and confidence and verve.' Imelda, the book's central character, is immersed in challenging new worlds where old customs still somehow survive. It is the 1980s and the poem takes shape among punks in Cork City. The 'coming thing' refers to the arrival of computers which were taking hold and beginning to effect their transformations of data and then of lives; but ultimately the title identifies the abortion which Imelda will have in a Brixton clinic. Imelda, who Evans's regular readers will recall from her earlier narrative Petrol (2012), narrates the story with a light touch, even when the book's preoccupation with abortion, suicide and euthanasia provides a strong and compelling undertow. The Coming Thing looks hard at the duplicity surrounding received ideas about the sacredness of human life and how economic change runs counter to the values of 'old' Ireland.

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A The Telegraph and Observer Book of the Year. This prose and poetry tour de force of storytelling has the narrative punch of a novel. It is a new departure for the poet, and for poetry itself. It takes the reader into the not-too-distant future: an artificial intelligence rules the world, and a working-class family use their wits to live off the land. William Letford blends prose and his inimitable poetry: sci-fi and hunter-gatherer are merged into a coherent story in the pages of a stonemason's journal. 'You won't see the best of a Macallum until you put something in their fist,' says Letford, introducing the family. 'Joiner, nurse, stonemason, hairdresser, plumber, gardener. Lorna even repairs vintage watches. That's the quantum mechanics of manual labour.' We join the Macallum family as they combine their skills to reconnect with the land in a world where the empowered are hell-bent on creating a new utopia. Joe, the stonemason, records in his journal the struggles and successes of a carnival of characters. They hurl grace and humour at a future that is being shaped by a single, powerful entity. Letford's storytelling is gritty and beautiful. 'A Macallum, it seems to me now, is made to move, to think on the run. The sofas in our houses were sinkholes. The actors on a fifty-two-inch flat screen - shadows on a cave wall.'

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For the Unnamed was originally entitled 'For the Unnamed Black Jockey Who Rode the Winning Steed in the Race Between Pico's Sarco and Sepulveda's Black Swan in Los Angeles, in 1852'. That title provided the full narrative in a nutshell: we know the names of the owners of the two horses, we know the horses' names, the place and date of the race. But apart from his colour, and his victory, we know nothing about the jockey who made the whole thing happen. Fred D'Aguiar's new book recovers and re-imagines his story. It was the most publicised race of its era with numerous press notices but he remained unnamed. We are given several perspectives on the action – owner's, trainer's, the horse Black Swan's, the jockey's lover, the jockey himself. But one crucial element of identity is forgotten, and that forgetfulness speaks eloquently about the time and the freed man's circumstances in the mid-nineteenth century. Fred D'Aguiar's previous collection, Letters to America (2020), was a Poetry Book Society Winter Choice and a White Review Book of the Year.

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Longlisted for the Anglo-Hellenic League Runciman Award 2024. A The Telegraph Book of the Year. The Telegraph Poetry Book of the Month August 2023. The Grid is about the end of worlds, ancient and modern. In three sequences of poems interspersed with Mandel's own translations from classical texts, figures of obsession and loneliness try to decrypt what Maurice Blanchot called 'the writing of the disaster'. Like a detective novel, the title sequence pieces together archival fragments into a lyric essay about Alice Kober, the half-forgotten scholar behind the decipherment of the ancient writing system called Linear B. Across different wartimes, Mandel adapts the typography and formatting of archived papers, their overlaps and errors and aporias, which compel readers to invest creatively in the very act of reading, learning new ways into language as they go. The leaps between past and present work in dialogue like a series of exhilarating stepping stones. This is a collection of what, though sometimes written as prose, turn out to be poems. From Ovid's bitter letters of exile to the prime minister's letters of instruction to nuclear submarine captains, The Grid tells a series of stories about four thousand years of apocalypse. Strange, humane, and deeply rooted in the ancient world, Mandel's first book surveys the ruins of the West with no nostalgia.

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And deeper still than this, my eyes penetrate far into the earth as if it was an agate: foundations, dungeons, subterranean cities where thwarted joyance wages its atrocities... (from 'Dusk: An Antique Song') Ned Denny's startling new collection recalls what Heidegger says - in his essay on Hoelderlin - about the poet, of all mortals, reaching most deeply into the abyss. In what does this abyss, the "world's night," consist? In the fact that the gods have departed, and in the rootless, heaven-proof and now worldwide technocracy forged in their absence. Yet the poet is also the one who sees, in that night, the lost gods' traces, and there are glimpses here "through a veil of names" of nature's saving radiance, of the indestructible delicacy of Claude's last landscape, of a "wild grin of insect glee" just beyond the confines of sleep. As Denny's adept voice 'throws' itself into and through other texts, forms, places, things and times - including works by Heine, classical Chinese poets, Pindar, Ronsard, Hoelderlin, Mallarme, Victor Hugo and Lorca - it becomes clear that the fathoming of our iron age is inseparable from the coming dawn.

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When his partner suddenly died, life changed utterly for Paul Stephenson. Hard Drive is the outcome of his revisiting a world he thought he knew, but which had been upended. In poems that are affectionate, self-examining, sometimes funny and often surprised by grief in the oddest corners, the poet takes us through rooms, routines, and rituals of bereavement, the memory of love, a shared life and separation. A noted formalist, with a flair for experiment, pattern and the use of constraints, Stephenson has written a remarkable first book, moving and, despite everything, a hopeful record of a gay relationship. It is also a landmark elegy collection.

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The July-August 2022 issue. Major autobiographical essay by Alberto Manguel. Fleur Adcock writes an elegy for her long-time editor. James Campbell takes us on a tour of the TLS and his celebrated NB page. Vahni Capildeo visits Charles Causley's world. Tony Roberts evokes the original Iowa Writers' Workshop and its personalities. Richard Gwyn takes us into the Dark Woods of Latin America. New to PN Review this issue: Hsien Min Toh, Catherine Esther-Cowie, Dominic Leonard and Kit Fan. And more...

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