Search results for ""bloodaxe books""

In this ferocious and tender debut, Chen Chen investigates inherited forms of love and family – the strained relationship between a mother and son, the cost of necessary goodbyes – all from Asian American, immigrant and queer perspectives. Holding all accountable, this refreshingly candid and entertainingly provocative collection fully embraces the loss, grief, and abundant joy that come with charting one’s own path in identity, life and love. Foreword by Jericho Brown.

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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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Because he was a radical poet, Jack Mapanje was imprisoned without trial or charge by the dictator Hastings Banda of Malawi for nearly four years. The themes of his poetry range from the search for a sense of dignity and integrity under a repressive regime, incarceration, release from prison, exile and return to Africa, and reconciliation with torturers, to the writer in Africa and the continuing African liberation struggle in a hostile world. While often deadly serious, Mapanje's poems are lifted by the generosity of spirit and irrepressible humour which helped sustain him through his prison ordeal.

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Almanacs: a mythic scrapbook, bag of cats, a one-man band...Jen Hadfield's Almanacs is concerned with lists, rules and archetypes and what they don't account for. It takes as its subjects the Tarot, the lore of Full Moons, weather myths and travellers' tales. The book's central sequence, Lorelei's Lore, is a road movie in poems, set in the north of Scotland: Ultima Thule, hijacked by elusive sirens and Harrier jets. There's the ruthless Lorelei, gorgeous Ghosty who's given up on everything except the Road, and Skerryman, patron saint of bad weather and absence-makes-the-heart-grow-fonder. It's obsessed with yearning, like the two seas separated by the tip of Shetland 'metres apart/and desperate for each other.' Lorelei's Lore wonders 'what's beautiful?' (tarmac? sheep carcasses? sunburn?) and 'where's your native home?'

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'Omnesia' is Bill Herbert's melding of omniscience and amnesia, the modern condition of thinking we can know everything about our world but, in actuality, retaining dangerously little. This doubly impressive new collection - published in twin editions, the alternative text and the remix - approaches and evades such flawed totality. Neither the alternative text nor the remix is the primary text. They are two variations, doppelgangers haunted by the idea of a whole neither can embody or know. Readers can read either or both versions. Booksellers can stock either or both. Only the literary prize judges will have to read both in order to shortlist either or both as one. For the past seven years Herbert has wandered from the Turkic west of China to the barrios of Venezuela; from Tomsk, the 'Athens of Siberia', to the heat of Hargeisa, capital of Somaliland, an unacknowledged country. These are travels to translate and, in more than one sense, to be translated; brief encounters with poets and poetics outside the Eurocentric norm; looking-glass meetings, omnesiac pilgrimage. Along the fracture lines between east and west in the Balkans, Greece, and in Jerusalem, across the cultural gaps that mark the north and south of the British Isles, Herbert teases out, through tensions between lyric and satire, English and Scots, formalism and experiment, what it is we hope to mean by home, integrity, or authenticity. Herbert's Omnesia is riven by the anxiety of incompletion: it is two variations desiring to be one theme; doppelgangers haunted by the idea of a whole neither can embody or know. Which one are you reading?

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Jane Hirshfield is a visionary 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 indispensible to many American readers in navigating their own lives. Hers is a poetry of clarity and hybrid vigour, drawing deeply on English and American traditions but also those of world poetry. The poetries of modern and classical Greece, of Horace and Catullus, of classical China and Japan and Eastern Europe all resonate in Jane Hirshfield's structures of thought and in her sensibilities. Indelibly of our time yet seated in the lineage of poetic discovery, these poems are meant to endure.

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Propa Propaganda was Benjamin Zephaniah’s second collection from Bloodaxe. First published in 1996, it includes some of his classic poems, such as ‘I Have a Scheme’, ‘The Death of Joy Gardner’, ‘White Comedy’ and ‘The Angry Black Poet’. Best known for his performance poetry with a political edge for adults – and his poetry with attitude for children – he was the first person to record with the Wailers after the death of Bob Marley, in a musical tribute to Nelson Mandela, which Mandela heard while in prison on Robben Island. He has published three other poetry books with Bloodaxe, City Psalms, Too Black Too Strong and To Do Wid Me (a DVD-book including a film portrait by Pamela Robertson-Pearce). His autobiography, The Life and Rhymes of Benjamin Zephaniah, was published by Scribner in 2018.

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These poems bear witness to the cycles of growth and decay that make up our lives. They are the work of a poet writing with an awareness of the seasonal circle closing, for the year and for herself. They are at once fearful, fragile and fearless in announcing ‘For now, we have October…/ October, lined with gold.’ They are also homages to the dead and the dying, and a reaching beyond the veil of the ‘now’ to a place where there is ‘nothing but nothing’. At times they are deeply personal, while still existing within the mythic and the impersonal, as when the recall of a room reflects the ‘casual, artless grouping of all longing’.

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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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Shortlisted for the T.S. Eliot Prize, Jutland brings together two contrasting poem sequences by 'this brilliant lyricist of human darkness' (Fiona Sampson), Advice on Wearing Animal Prints, winner of the Michael Marks Poetry Award, and Sunday Afternoons at the Gravel-pits. Like all of Selima Hill's work, both sequences chart 'extreme experience with a dazzling excess' (Deryn Rees-Jones), with startling humour and surprising combinations of homely and outlandish. Jutland poses questions about forgiveness,'but the answers, / like Valentines, are never enough', as she writes in 'Wolverine': 'And can't he understand / I'm trying to love him but I don't know how? / And is it true forgiveness is forgiveness / only if the person first reprints? / That kindness isn't kindness but self-sacrifice?'

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The poems in "Not Finding Wittgenstein" feature Peter Henry Lepus, a rabbit who searches the world for philosophers, conversing with Ludwig Wittgenstein in Antarctica, Bertrand Russell in Japan, and with A.J. Ayer and J.L. Austin in Iraq before and after the invasion. J.S. Harry is one of Australia's leading poets, renowned for her cool wit and sharp intellect, and for her seemingly whimsical irony, which is unerringly accurate in piercing pretension. Peter's innocent but quizzical rabbit perspective is perfect for her questioning of the nature of perception and the limits of philosophical enquiry, of the ways in which language constructs our world, and of how poetry may reconstruct it again, in strange and surreal ways. But there's also a humble, human concern expressed through Peter's innocence and vulnerability, about the beauty of simple things and the delicacy of the natural order - and the ease with which both may be poisoned by pride, or politics, or war.

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Tony Hoagland's zany poems poke and provoke at the same time as they entertain and delight. He is American poetry's hilarious 'high priest of irony', a wisecracker and a risktaker whose disarming humour, self-scathing and tenderness are all fuelled by an aggressive moral intelligence. He pushes the poem not just to its limits but over the edge. Unincorporated Persons in the Late Honda Dynasty was his first new collection after What Narcissism Means to Me: Selected Poems (Bloodaxe Books, 2005). The poems – and title – try to make sense of the situation of the individual in our time, and in America in particular – Hoagland's obsessive main subject. They worry over how to preserve a sense of self and values, connectedness and cohesiveness, in an era of market-driven culture, dazzling but toxic entertainment, and degraded and degrading idiocies cultivated by mass culture. Poetry Book Society Recommendation.

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I Think We’re Alone Now was supposed to be a book about intimacy: what it might look like in solitude, in partnership, and in terms of collective responsibility. Instead, the poems are preoccupied with pop music, etymology, surveillance equipment and cervical examination, church architecture and beetles. Just about anything, in fact, except what intimacy is or looks like. So this is a book that runs on failure, and also a book about failures: of language to do what we want, of connection to be meaningful or mutual, and of the analytic approach to say anything useful about what we are to one another. Here are abrupt estrangements and errors of translation, frustrations and ellipses, failed investigations. And beetles. I Think We’re Alone Now is Abigail Parry's second collection. Her first collection, Jinx (Bloodaxe Books, 2018), was shortlisted for the Forward Prize for Best First Collection 2018 and the Seamus Heaney Centre First Collection Poetry Prize 2019.

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After mapping Britain’s national decline over thirty years through 25 books of poetry, Peter Reading reinvented himself as a writer in his 21st-century work. The bitter social critic became poetry’s Millennial prophet of doom, directing his venom and sorrow at the destruction of the world’s wildlife and environment. -273.15 [absolute zero] was his first new collection after his three-volume Collected Poems. The book is a lament, a tirade, a disaster warning, and an anthropologist’s catalogue of our final expedition addressed to an earlier survivor of global catastrophe, Noah of the Flood. He published his final collection, Vendange Tardive, in 2010.

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The Touch of Time is a comprehensive retrospective of the work of one of Scotland's leading poets drawing on ten previous books published over five decades. The new work here pursues the themes of his earlier Bloodaxe collections Stolen Light: Selected Poems (1999), Ghosts at Cockcrow (2005) and The Breakfast Room (2010). With what Professor Carla Stassi sees as 'his thoughtful attention to small details, his redeeming gaze, his formal control of impeccably constructed verses, and his deep and warm humanity', he movingly explores everyday events and revelations and how - like our lives and those of our loved ones - they are transformed by time.

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Gathering poems from Shakespeare to the present, Don't Bring Me No Rocking Chair addresses ageing through the several ages of poetry. Now more than ever, as more of us live for longer, the idea of what it means to age or to grow old engages and concerns people of all ages. One of the problems of ageing is the language we use to define it and the list of pejoratives associated with it, with attitudes to ageing ranging from 'fatalism, denial, negative stereotyping and tunnel vision to fantasy' (Professor Tom Kirkwood, Newcastle University). Poetry can help to give us a fresh language to think about ageing and these poems are chosen to fortify, celebrate, lament, grieve, rage and ridicule. There is not one way to age but neither can any of us truly stop our bodies from ageing. Ageing is not a single phenomenon but complex, multiple, perplexing: experienced historically as well as individually. This anthology may not console but it can widen our perspectives, helping us to change what we can change: our attitudes. This anthology was prepared for the Newcastle Centre for the Literary Arts as part of the Societal Challenge Theme on Ageing at Newcastle University with support from the Institute of Ageing and Health, Newcastle University, and has a foreword by Joan Bakewell.

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Richard Murphy (1927-2018) was one of Ireland’s most distinguished poets, known particularly for poems drawing on the people and history of the west of Ireland with classical rigour and 'unvarnished' clarity. He emerged in the 1950s with John Montague and Thomas Kinsella as one of the three major poets in the new Irish poetic renaissance. The Pleasure Ground expands the scope of his much acclaimed Collected Poems of 2000 to include a selection of new poems along with an appendix featuring illuminating commentary on the historical and personal background of some of his most notable work, including 'The Cleggan Disaster', 'The God Who Eats Corn', The Battle of Aughrim, and the poems of High Island. Poetry Book Society Special Commendation.

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Waiting for Bluebeard tries to understand how a girl could grow up to be the woman living in Bluebeard's house. The story begins with a part-remembered, part-imagined childhood, where seances are held, and a father drowns in oil beneath the skeleton of his car. When her childhood home coughs up birds in the parlour, the girl enters Bluebeard's house paying the tariff of a single layer of skin. This is only the first stage of her disappearing, as she searches for a phantom child in a house where Bluebeard haunts the corridors like a sobbing wolf. Waiting for Bluebeard is Helen Ivory's fourth book of poems.

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Ahren Warner's second collection of poems opens with the sequence Lutece, te amo: a raw paean to the Paris it inhabits that flits between past and present and offers both adoration and horror in equal measure. Elsewhere, London 'licks and laps'; an anonymous man 'works his bones with a micro-plane' and translations of Baudelaire and Kojeve rub shoulders with Kurt Cobain and 'Little Lord Tory-Tit'. More capricious, fleshly and darker than Warner's previous work, Pretty culminates in Nervometer: thirteen poems hovering between a collage, translation and performance of Antonin Artaud's Le Pese-nerfs, which bring Pretty to a beautifully ugly end.

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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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'Omnesia' is Bill Herbert's melding of omniscience and amnesia, the modern condition of thinking we can know everything about our world but, in actuality, retaining dangerously little. This doubly impressive new collection - published in twin editions, the alternative text and the remix - approaches and evades such flawed totality. Neither the alternative text nor the remix is the primary text. They are two variations, doppelgangers haunted by the idea of a whole neither can embody or know. Readers can read either or both versions. Booksellers can stock either or both. Only the literary prize judges will have to read both in order to shortlist either or both as one. For the past seven years Herbert has wandered from the Turkic west of China to the barrios of Venezuela; from Tomsk, the 'Athens of Siberia', to the heat of Hargeisa, capital of Somaliland, an unacknowledged country. These are travels to translate and, in more than one sense, to be translated; brief encounters with poets and poetics outside the Eurocentric norm; looking-glass meetings, omnesiac pilgrimage. Along the fracture lines between east and west in the Balkans, Greece, and in Jerusalem, across the cultural gaps that mark the north and south of the British Isles, Herbert teases out, through tensions between lyric and satire, English and Scots, formalism and experiment, what it is we hope to mean by home, integrity, or authenticity. Herbert's Omnesia is riven by the anxiety of incompletion: it is two variations desiring to be one theme; doppelgangers haunted by the idea of a whole neither can embody or know. Which one are you reading?

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Carolyn Forché is one of America’s most important contemporary poets – renowned as a ‘poet of witness’ – as well as an indefatigable human rights activist. Over four decades, she has crafted visionary work that has reinvigorated poetry's power to awaken the reader. Her groundbreaking poems have been testimonies, enquiries and wonderments. They daringly map a territory where poetry asserts our inexhaustible responsibility to each other. In the Lateness of the World is a dark book of crossings, of migrations across oceans and borders but also between the present and the past, life and death. The poems call to the reader from the end of the world where they are sifting through the aftermath of history. Forché imagines a place where 'you could see everything at once… every moment you have lived or place you have been'. The world here seems to be steadily vanishing, but in the moments before the uncertain end, an illumination arrives and 'there is nothing that cannot be seen'. In the Lateness of the World is a revelation from one of the finest poets writing today. Her meditative poetry has a majestic sweep, with themes ranging from life on earth and human existence to history, war, genocide and the Holocaust. In the Lateness of the World is her first new collection in seventeen years, and follows three other collections published by Bloodaxe in Britain, The Country Between Us (1981/2018), The Angel of History (1994) and Blue Hour (2003). Jane Miller called Blue Hour ‘a masterwork for the 21st century’. According to Joyce Carol Oates (New York Times Book Review), Forché’s ability to wed the “political” with the “personal” places her in the company of such poets as Pablo Neruda, Philip Levine and Denise Levertov.

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This new expanded edition of "The Long and the Short of It" covers 55 years of Roy Fisher's poetry. Playing the language, pleasuring the imagination and teasing the senses, Fisher's witty, inventive and anarchic poetry has given lasting delight to his many dedicated readers for over half a century. Choosing this book on "Desert Island Discs", Ian McMillan praised Fisher as "Britain's greatest living poet". "The Long and the Short of It" draws on the entire range of Fisher's work, from its fraught beginnings in the 1950s through major texts of the 1960s and 1970s as "City", "The Ship's Orchestra" and 'Wonders of Obligation' to "A Furnace", his 1980s masterpiece, and and then the later work set in the scarred and beautiful North Midlands landscape where he has lived for the past 30 years, notably the Costa-shortlisted "Standard Midland" (2010), which has been added to this expanded edition.

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C.D. Wright’s work is enormously varied: she was an experimental writer, a Southern writer, and a socially committed writer, yet she continuously reinvented herself with each new volume. Much of her poetry is rooted in the landscape and people of her childhood in the Ozark Mountains of Arkansas. Long admired for the honed ferocity of her vision, she wrote with a distinctive Southern accent and a cinematic eye, cut with a secular wit that only slightly tempers her exigency. The resulting poems are hypnotic documentaries that offer what she called ‘a once-and-for-all thing, opaque and revelatory, ceaselessly burning’. Bloodaxe published her first UK retrospective Like Something Flying Backwards: New & Selected Poems in 2007. In One with Others, Wright returned to her native Arkansas and examines an explosive incident grounded in the Civil Rights Movement. In her signature style, she interweaves oral histories, hymns, lists, interviews, newspaper accounts, and personal memories – especially those of her incandescent mentor, V (Mrs Vittitow) – with the voices of witnesses, neighbours, police, activists and a group of black students who were rounded up and detained in an empty public swimming pool. This is a history told by many voices, and it leaps howling off the page. Both a book-length poem and a probing work of investigative journalism, One with Others won the National Book Circle Critics Award.

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From the direct trajectory of her first collection, Straight Ahead, Clare Shaw's second collection Head On turns an unflinching gaze into startling new territories. Structured by interweaving themes of political and personal conflict, the book begins and ends with the recurrent necessity of speaking out. And this is a book which speaks in equal measures, in precise and uncompromising language, about love and tenderness; violence and brutality. Clare Shaw writes to speak to the world. But first and foremost she speaks directly to the reader, through words which shock, engage, disturb and delight. This is a book which - in its content and its impact - sets out to establish and to challenge the limits of language. Exploring with unflinching focus and intent some of her darkest territory yet - but returning, as always, to the light - she offers us a furious but ultimately hopeful exploration of the world as she lives it.

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The malarkey is over in the back of the car - As soon as you turn your back, time slips. The humdrum present has become the precious, irrecoverable past. The ways in which the present longs for the past, questions it, tries to get in touch with it and stretches the power of memory to its limits, are central to this collection by Helen Dunmore. Joseph Severn recalls Keats hurling a bad dinner out onto the steps of the Piazza di Spagna; the glamour of John Donne's portrait 'taken in shadows' seduces a new generation; the dead assert their right to walk through the imaginations of the living - These are poems and stories of loss and extraordinary rediscovery. The Malarkey was Helen Dunmore's last poetry book before her final collection Inside the Wave (2017). It brings together poems of great lyricism, feeling and artistry.

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"The World Record" is an international anthology of work by poets from all the countries taking part in the 2012 London Olympics, featuring a poem from each of the 204 Olympic nations, from Armenia to Tuvalu, Azerbaijan to Turkmenistan. With this book you can discover the world through its keenest observers, political activists and most articulate wordsmiths. There's something for every taste: new voices as well as world greats, rappers and spoken word artists as well as poets and storytellers. "The World Record" marks the first time so many living poets from so many countries have been gathered together in one anthology - and 2012 is the first time so many poets have been gathered in one place. Up to 204 poets come together in London for Poetry Parnassus, a week-long celebratory gathering as part of the finale of the Cultural Olympiad, the Festival of the World and the London 2012 Festival. This visionary festival at London's Southbank Centre features poets from all participating Olympic nations giving readings, talks and performances. Poetry Parnassus is a monumental poetic happening worthy of the spirit and history of the Olympics. Introduced by the festival's curator, Simon Armitage, "The World Record" shows how poetry crosses all international boundaries to speak to readers everywhere.

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At once a reckoning with a lost political legacy, a meditation on love, marriage and middle age, and a reaching back into foreign ancestry, The Winter Sleep of Captain Lemass is Harry Clifton's fullest and most ambitious attempt so far to bring together, in a single book, the discordant elements of an evolving Ireland, as it discovers itself, through public and private destinies, in the 21st century. Harry Clifton is one of the finest and most widely travelled poets of his generation.

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Frances Horovitz's poems have the clarity of ballad and the power of myth. Her finely honed lyrics 'strike to areas of the soul as old as humanity itself'. Many were inspired by the remote Cotswold valley where she lived for ten years; others by the border country of Cumbria and the Welsh Marches. Her Collected Poems (1985) was one of the landmark volumes of postwar British poetry. She was one of the finest ever readers of poetry, and this new edition includes an audio CD of her reading a selection of her poems, along with an interview.

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"A Story I Am In" is not just James Berry's life in poetry but a book of all the lives he has witnessed or been part of - a story of life itself. He came to Britain in 1948, in the first postwar wave of Jamaican emigration, later becoming one of the first black writers in Britain to achieve wider recognition. Poetry mattered to Berry from an early age, exposed to two main languages: the standard English of Bible and prayerbook heard every Sunday at church, with all its rhythms and sounding patterns; and the tunes of everyday Jamaican language, with its sayings and proverbs, its special dialect words with their African connections, its expression of a roots culture. These experiences gave him that strong and particular Caribbean awareness of language which has nourished his poetry over many years. This major retrospective of his work covers five collections published over four decades, plus a selection from four books of poetry for children. Much of his poetry celebrates the divided world of a lifelong outsider. Growing up in Jamaica, Berry felt as much disturbed by his African background as by the European slave-trade and its aftermath. His poetry shows how 'root agonies' made him view Africa as a thoughtless and neglectful mother, how his years in Britain - most of his adult life - left him worried by past, present and future. Now in his mid-80s, he has sought in his later work to give voice to all the people who came on the first ships from the Caribbean, whose journeys held strange echoes of earlier sea voyages from Africa to the slave plantations.

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Luljeta Lleshanaku belongs to the first "post-totalitarian" generation of Albanian poets. In Haywire she turns to the fallout of her country's past and its relation to herself and her family. Through intense, powerful lyrics, she explores how these histories intertwine and influence her childhood memories and the retelling of her family's stories. Sorrow, death, imprisonment, and desire are some of the themes that echo deeply in Lleshanaku's beautiful poems. Poetry Book Society Recommended Translation.

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Gwyneth Lewis's highly inventive Sparrow Tree puts nature writing in a spin, presenting a huge variety of birds, both British and American: blue tits, blackbirds, egrets, juncos, starlings, herons and hummingbirds as well as the sparrows of the title. The book explores birds as mouthpieces for inhuman song and the wild inside the mind. Launching flights of avian fancy or fantasy on several levels, Sparrow Tree moves from birdsong as proto-language to birds as decorative beings. The collection includes her already well-known How to Knit a Poem, commissioned by BBC Radio 4, and ends with images of the human word as a form of love. Winner of the Roland Mathias Poetry Award (Wales Book of the Year).

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Tracey Herd’s long awaited new collection was inspired by the late actress Elizabeth Hartman’s lifelong struggle with mental illness and by her own experience of living with clinical depression. The book examines the eternal bonds of love and friendship and the joys, grief and losses which imbue the human experience. These deeply personal yet vibrant poems also use the mediums of film, music and memory to create a collection which reverberates with pain and yet still finds small moments of happiness to savour. Not in This World, Tracey Herd’s third collection from Bloodaxe, was shortlisted for the T.S. Eliot Prize and was a Poetry Book Society Choice. Her debut, No Hiding Place (1996) was shortlisted for the Forward Prize for Best First Collection, and her second collection, Dead Redhead (2001), was a Poetry Book Society Recommendation.

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Bernard Spencer (1909-63) was a distinctive voice in 20th-century English poetry, and a central figure in the Personal Landscape group of wartime Cairo writers. He spent much of his life working for the British Council, in Greece, Egypt, Italy, Spain, Turkey and Austria, the settings for many of his poems. He was among the first translators of George Seferis into English, and his expatriate colleagues included Lawrence Durrell and Olivia Manning. A recurrent theme in his poetry is a particular sense of gregarious loneliness, of being someone apart. Living for many years in non-English-speaking communities, he became, quite consciously, 'a stranger here', a poet whose subtly inventive techniques and 'respect for the Object', as Durrell put it, served to fix and define modes of personal, cultural and political unease. He was to publish just two full collections, 'Aegean Islands and Other Poems' (1946) and 'With Luck Lasting' (1963), during his lifetime. Based on Roger Bowen's pioneering 'Collected Poems' (OUP, 1981), this new edition of Spencer's works is the first to include all his poetry, his translations from George Seferis, Odysseus Elytis and Eugenio Montale (made alone, or in collaboration with Lawrence Durrell and Nanos Valaoritis), and selections of his prose - including critical and travel writings, memoirs, interviews, occasional comments on poetry, and his obituary for Keith Douglas. Wherever possible the texts are derived either from manuscript and typescript holdings in the poet's principal archive at the University of Reading and others dispersed elsewhere, or checked against those various sources. The book has an introduction by poet, translator, and literary critic Peter Robinson as well as extensive notes on the published texts and a complete bibliography of Spencer's writings.

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Lawrence Sail's poems balance dream and history, delight and unease: they weigh the art of the possible against the encroachment of time. This substantial retrospective covers work written over four decades, drawing on poems from ten collections, from "Opposite Views" (1974) to the "New Poems" (2010) first collected in this volume. The new poems continue to explore Sail's characteristic themes - the border country between belief and doubt; the interplay of memory and imagination; the possibilities of art; the context of silence: and they do so with a fresh inwardness. Attentive to the often alluring details of the material and natural world, many of them reflecting the writer's love of the sea, the poems also contemplate the relationship between appearance and essence. The closing poem, 'Ghostings', offsets a keen awareness of the world as it is against the parameters of a child's perceptions and a quest for a vision of wholeness.

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In this innovative series of public lectures at Newcastle University, leading contemporary poets speak about the craft and practice of poetry to audiences drawn from both the city and the university. The lectures are then published in book form by Bloodaxe, giving readers everywhere the opportunity to learn what the poets themselves think about their own subject. George Szirtes' three lectures form an arc on the nature of historical knowledge in the poem. 'Our knowledge' says Elizabeth Bishop in 'At the Fishhouses', 'is historical, flowing and flown.' The sea in her poem is so cold it burns hand and tongue, a parodox explored in his first lecture, 'Cold dark deep and absolutely clear: poetic knowledge as uncertainty'. Beginning with this understanding of knowledge, his second lecture, 'Life is Elsewhere: knowing in opposition', shifts to notions of historical responsibility, especially as perceived by poets in the West at the time of the Cold War. Szirtes considers questions of betrayal and fidelity and the role of irony and quietism. In his third lecture, 'Flowing and flown: in the world of superfluous knowledge', Szirtes seeks exemplars and connections in works by George Seferis, Derek Mahon and poets of Eastern Europe from the period immediately before 1989 as well as briefly afterwards, to enquire into the nature of repression, returning to Bishop's story 'In the Village' for its conclusion, where 'The hammer echoes with the icy black sea. Cold, dark deep and absolutely clear' ending with Bishop's affirming cry: 'Oh beautiful sound, strike again!'

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Arun Kolatkar (1931-2004) was one of India's greatest modern poets. He wrote prolifically, in both Marathi and English, publishing in magazines and anthologies from 1955, but did not bring out a book of poems until he was 44. "Jejuri" (1976) won him the Commonwealth Poetry Prize. His third Marathi publication, Bhijki Vahi, won a Sahitya Akademi Award in 2004. Always hesitant about publishing his work, Kolatkar waited until 2004, when he knew he was dying from cancer, before bringing out two further books, "Kala Ghoda Poems" and "Sarpa Satra". A posthumous selection, "The Boatride and Other Poems" (2008), edited by Arvind Krishna Mehrotra, contained his previous uncollected English poems as well as translations of his Marathi poems; among the book's surprises were his translations of bhakti poetry, song lyrics, and a long love poem, the only one he wrote, cleverly disguised as light verse. This first Collected Poems in English brings together work from all those volumes. "Jejuri" offers a rich description of India while at the same time performing a complex act of devotion, discovering the divine trace in a degenerate world. Salman Rushdie called it 'sprightly, clear-sighted, deeply felt - a modern classic'. For Arvind Krishna Mehrotra, it was 'among the finest single poems written in India in the last forty years - it surprises by revealing the familiar, the hidden that is always before us'. Jeet Thayil attributed its popularity in India to 'the Kolatkarean voice: unhurried, lit with whimsy, unpretentious even when making learned literary or mythological allusions. And whatever the poet's eye alights on - particularly the odd, the misshapen, and the famished - receives the gift of close attention.'

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"Third Wish Wasted" is a book concerned with our wishes and desires. Belonging to a world between real and imagined folklore, the poems are by turns celebratory, humorous and beguiling, and there are bittersweet contemplations of youth, beauty and fame. Roddy Lumsden is one of the liveliest and most inventive poets writing in Britain today. His fifth collection sees him extending the range of his poetry, straying into denser and more musical territory, as well as sticking with the form and wit which typifies his earlier work. In "Third Wish Wasted" he invents and tries out various unusual and inventive forms such as charismatics, overlays and relegated narratives. There are poems composed on a top fashion shoot, inspired by travels in the USA and, as ever, he picks apart the problems between men and women.

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"A Knowable World" follows Sarah Wardle's detainment in a Central London psychiatric hospital for over a year for manic episodes of bipolar disorder. The poems chart the stresses of thirty-something city life through police arrests and hospitalisation under section orders to achieve a way out; then the threat and frustration involved in the fight for liberty and the patience needed to achieve recovery. Through commanding and apt expression, Sarah Wardle conveys bleak experience. These cathartic poems are themselves testimony to her ability to overcome the sense of futility, helplessness and panic involved in bipolar disorder. Form and technique have provided a framework for her to re-establish a sense of order and concentration out of chaos. "A Knowable World" bravely enlightens our understanding of mental illness.

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John Agard has been broadening the canvas of British poetry for the past 40 years with his mischievous, satirical fables which overturn all our expectations. "Alternative Anthem" is a live album of poems from books published over three decades, including "John Agard Live!", a DVD of filmed highlights from recent performances made by filmmaker Pamela Robertson-Pearce. It includes poetry from "We Brits" in which the Guyanese-born word magician gives an outsider-insider view of British life in poems which both challenge and cherish our peculiar culture and hallowed institutions; "Weblines" that contains three powerful Caribbean myths of transformation: the steeldrum, the limbo dancer, and Anansi, the spider trickster god; and, "From the Devil's Pulpit" that is a Devil's eye view of the world, sweeping from Genesis across time; and, other collections including "Mangoes and Bullets" and "Lovelines for a Goat-Born Lady", as well his children's books, featuring some of Agard's best-known poems - "Listen Mr Oxford don", "Palm Tree King", "Half-Caste", and "English Girl Eats Her First Mango".

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Jeet Thayil's definitive selection covers 55 years of Indian poetry in English. It is the first anthology to represent not just the major poets of the past half-century - the canonical writers who have dominated Indian poetry and publishing since the 1950s - but also the different kinds of poetry written by an extraordinary range of younger poets who live in many countries as well as in India. It is a groundbreaking global anthology of 70 poets writing in a common language responding to shared traditions, different cultures and contrasting lives in the changing modern world.Thayil's starting-point is Nissim Ezekiel, the first important modern Indian poet after Tagore, who published his first collection in London in 1952. Aiming for "verticality" rather than chronology, Thayil's anthology charts a poetry of astonishing volume and quality. It pays homage to major influences, including Ezekiel, Dom Moraes and Arun Kolatkar, who died within months of each other in 2004. It rediscovers forgotten figures such as Lawrence Bantleman and Gopal Honnalgere, and it serves as an introduction to the poets of the future.The book also shows that many Indian poets were mining the rich vein of 'chutnified' (Salman Rushdie's word) Indian English long before novelists like Rushdie and Upamanyu Chatterjee started using it in their fiction. It explains why Pankaj Mishra and Amit Chaudhuri have said that Indian poetry in English has a longer, more distinguished tradition than Indian fiction in English. The Indian poet now lives and works in New York, New Delhi, London, Itanagar, Bangalore, Berkeley, Goa, Sheffield, Lonavala, Montana, Aarhus, Allahabad, Hongkong, Montreal, Melbourne, Calcutta, Connecticut, Cuttack and various other global corridors. While some may have little in common in terms of culture (a number of the poets have never lived in India), this anthology shows how they are all bound by the intimate histories of a shared English language.

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In this innovative series of public lectures at the University of Newcastle upon Tyne, leading contemporary poets speak about the craft and practice of poetry to audiences drawn from both the city and the university. The lectures are then published in book form by "Bloodaxe", giving readers everywhere the opportunity to learn what the poets themselves think about their own subject. Jane Hirshfield examines the roles of hiddenness, uncertainty and surprise as they appear in poetry and other works of literature, in the life and psyche of the writer, and in the broader life of the culture as a whole. "Poetry and Hiddenness: Thoreau's Hound Explorations of Hiddenness" go back to the beginning of literature. There is no paradise, no place of true completion, that does not include within its walls the unknown. In this lecture, Hirshfield explores the centrality and necessity of hiddenness in our lives, and elucidates both the uses of hiddenness and hidden meanings in the work of writers ranging from Homer to Cavafy, from Auden to Jack Gilbert.Poetry and Uncertainty - To be human is to be unsure, and if the purpose of poetry is to deepen the humanness in us, poetry will be unsure as well. This lecture illuminates the ways uncertainty - in poems, and in life - allows both broadened feeling and enlarged knowledge. Translations are central to this talk, which includes poems by Izumi Shikibu, Anna Swir, Fernando Pessoa and Paul Celan. "Poetry and the Constellation of Surprise Poems" preserve their inaugural newness in part because they are like the emotions - not object, but experience, event. Poems that last are those that do not lose the power to astonish. This lecture examines surprise as a central, unrecognised fulcrum of great poems. Three poems are then looked at in detail by Hirshfield as test-cases: "Ithaka" by C.P. Cavafy, "Oysters" by Seamus Heaney and "Nothing Gold Can Stay" by Robert Frost.

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Menna Elfyn is the best-known, most travelled and most translated of all Welsh-language poets. The extraordinary international range of her subjects, breathtaking inventiveness and generosity of vision place her among Europe's leading poets. This bilingual edition of her later poetry includes work from "Cell Angel" (1996) and "Blind Man's Kiss/Cusan Dyn Dall" (2001), as well as the first English translations of "Perffaith Nam" (2005) and a selection of new poems. 'These poems engage as deeply as ever with Menna Elfyn's treasured themes of possession and dispossession, the terrible vulnerability of those things which are precious and her joyously affirmative, inclusive views on how they may be protected. Her characteristic concern for humanity everywhere and her loving but uncompromising view of the conundrums of women's lives are framed here in a more reflective vein, but with her characteristic humour and sideways wit. She is a witty, gentle, compassionate gatekeeper between Wales and the wider world, her work as a poet constantly explaining, excusing and extolling each to the other' - Elin ap Hywel. 'Menna Elfyn is the firebird of the Welsh language, bright, indomitably modern and as indestructible as the phoenix. She gives hope to all writers in lesser spoken languages that great things can rise from the ashes' - Nuala Ni Dhomhnaill. 'Elfyn is a poet of healing...both compassionate and celebratory. Like a soul doctor she questions and probes, like St Teresa she endures the darkness, but in the end she sings a song which affirms that flawed humanity is indeed perfectible' - Katie Gramich, Planet.

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Susan Wicks' poetry transforms the apparently ordinary into something precise, surprising and revelatory. These new poems are a departure for her, exploring the cracks in our experience - between movement and stasis, the everyday reality that surrounds us and what we perceive of it, between what our bodies experience and what can or can't be captured in paint or ink. Many of the poems are about escaping - in a car loaded with stolen meat or in the de-iced plane of the title - an escape that takes us first to the snow-bound world of the central MacDowell Winter sequence, and then, in her seriously playful Graham Mickleworth poems, in search of the now-you-see-them-now-you-don't family of a fictional painter. For running away is also running towards, even a kind of pilgrimage, to a place where art and experience, past and future, merge and find ways to survive.

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Dan Chiasson has been hailed in America as 'one of the most gifted young poets of his generation' (Frank Bidart). This book - his first to be published in Britain - brings together poems from his first two US collections, "The Afterlife of Objects" (2002) and "Natural History" (2005), along with more recent work. His later collection, "Where's the Moon, There's the Moon", was published by Bloodaxe in 2010. "The Afterlife of Objects" is a kind of dreamed autobiography in which the enigmas of an individual mind become universal puzzles. "Natural History" takes its inspiration from Pliny's encyclopaedic "Historia Naturalis", suggesting that a person is like a world, full of mysteries and wonders - and equally in need of a compendium of everything known.

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Sarah Wardle was poet-in-residence with Tottenham Hotspur FC when many of these poems were written. Her Score! is a winning commentary on contemporary culture, shooting at the heart of consciousness, family, sport, the female voice and Darwinian science. Her second collection kicks off with her Spurs poems, tackling the common ground between goals of competition and community. Then X: A Poetry Political Broadcast presents poetry as a beacon of imagination, choice and responsibility: the still, small voice that guides us through life’s terrain. Score! is completed by Sheet Music, a medley of poems ranging from London to Stone Age man, Schrödinger's Cat to Nelson’s Column.

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Before and since his enforced exile, 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. Yang Lian has written that Concentric Circles is ‘the most important piece since I came out from China’, and that it is emphatically not a political work, but instead a work focused on ‘deep reality’ and the nature of how humans understand that reality through the medium of language. The book, like the sections of which it is comprised, uses a kind of collage, where many small fragments, each complete in itself, are aligned together in a series of patterns to form a grander mosaic: from line to line, poem to poem, cycle to cycle, in ever-widening concentric structures. Yang Lian regards this English version as an integral part of the work as a whole – indeed, it could be said that the work is incomplete without its English parallel, and that as he reads it he is ‘struggling free from time and incorporated into the beautiful “concentric circles” of ancient and modern poetry, in China or elsewhere’.

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"Modern Women Poets" is the companion anthology to Deryn Rees-Jones's pioneering critical study, "Consorting with Angels: Essays on Modern Women Poets". While its selections illuminate and illustrate her essays, Deryn Rees-Jones's superb anthology works in its own right as the best possible introduction to a whole century of poetry by women. The anthology draws together the work of women poets from Britain, Ireland and America as one version of a history of women's poetic writing, while not isolating women's writing from its intersection with the work of male contemporaries. Tracing an arc from Charlotte Mew to Stevie Smith, from Sylvia Plath to the writing emerging from the Women's Movement, and to the more recent work of Medbh McGuckian, Jo Shapcott and Carol Ann Duffy, the anthology draws together the work of women poets from Britain, Ireland and America as one version of a history of women's poetic writing. It shows important connections between the work of women poets and shows how - throughout past 100 years - they have developed strategies for engaging with a male-dominated tradition. "Modern Women Poets" allows the reader to trace women's negotiations with one another's work, as well as to reflect more generally on the politics of women's engagement with history, nature, politics, motherhood, science, religion, the body, sexuality, identity, death, love, and poetry itself.

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