Search results for ""Author Carol Rumens""

A year of hand-picked poems and commentaries from the Guardian's 'Poem of the Week' blog. Carol Rumens has been contributing 'Poem of the Week' to the Guardian for more than a dozen years. Do the maths: that's more than 624 blogs! No wonder she has a large and devoted following. She's a poet-reader, not an academic. She is fascinated by the new, but her interest is instructed by the classic poems she has read. They make her ear demanding: when it hears that something, it perks up. She perks up. 'A poem is a small (or large) machine made of words.' Rumens partly agrees with Williams but she develops the conceit, seeing each poem 'as a more flexible instrument, a miniature neo-cortex, that super-connective, super-layered smartest device of the mammalian brain'. She tries to avoid poems built from kits with instruction manuals. She looks for surprises, and she surprises us.

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In Carol Rumens's Bezdelki, small things like the English meaning of her Russian title help to shore up the memory of a life. These elegies for a late partner, written in memory of Yuri Drobyshev, explore the principle that death, even for atheists, isn’t purely loss. Instead, a kind of conversation between two people can be continued through willed acts of memory, whether by rooting through incidental artefacts found in a toolbox ('defiant old metals, coupled/irrefutably and awkwardly for life') or by revisiting works of Russian literature that both members of the couple admired. In Rumens's pamphlet, translations and imitations of Osip Mandelstam share space with fragments of Egyptian mythology and 'a wardrobe of old sweat-shirts' to convey the powerful, and moving, impulse to 'live with your death unburied at my core'.

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‘The Curfew tolls the knell of parting day …’ Thomas Gray’s 'Elegy Written in a Country Churchyard' has been loved and admired throughout the centuries. First circulated to a select group of friends, it was rushed to official publication in 1751 in order to avoid pirated copies being sold without the young poet’s permission. Praised by Samuel Johnson, reprinted over and over again in Gray’s lifetime and recited by generations of school children, it is one of the most famous poems in the English language. This edition reproduces the exquisite wood engravings made by Agnes Miller Parker in 1938. Parker visited the churchyard at St Giles, Stoke Poges, where the poem is set, in order to make her sketches, and all thirty-two stanzas of the poem are accompanied by detailed full-page illustrations. Commemorating the 250th anniversary of the poet’s death, this edition will not only bring new readers to the 'Elegy' but will also appeal to those already familiar with its riches.

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