Search results for ""Author Fred D'Aguiar""

The Rose of Toulouse is a book of geographies tracing where the poet has lived and taught, their histories, and his history as he travels away from who he was.

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"Continental Shelf" traces a journey, across continents and from youth to maturity. It moves from memories of childhood in Guyana, through a long elegiac exploration of the shootings at Virginia Tech University in 2006, to the reflective closing section which gives its title to the book. Fred D'Aguiar celebrates individuals and the histories embedded in places. He conjures up a sensuous childhood world of characters, stories, a loved particularity - a smell of bitumen, the local hero who comes last in a National Cycle Championship, a distant train's incantation of 'greenheart, mora, baromalli' - impressions so distinct and powerful that 'fumes - spin my head/Back whenever I catch a whiff from a car'. In D'Aguiar's Elegies for the thirty-three people who died in Virginia, that loss of unique and particular individuals is mourned, in a scrutiny of what civil and private life has become, and how, alongside grief, we may recover delight in the world. In his first full-length collection since "Bill of Rights" (1998), D'Aguiar celebrates how imagination and memory enable us to cope with violence and death. Love, above all, is the mainstay.

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Written in taut, poetic language, THE LONGEST MEMORY is set on a Virginian plantation in the 19th century, and tells the tragic story of a rebellious, fiercely intelligent young slave who breaks all the rules: in learning to read and write, in falling in love with a white girl, the daughter of his owner, and, finally, in trying to escape and join her in the free North. For his attempt to flee, he is whipped to death in front of his family, and this brutal event is the pivot around which the story evolves.

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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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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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The Poetry Book Society Winter 2020 Choice. The fourth Carcanet collection from Guyanese-British poet Fred D'Aguiar.

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Celebrating the centenary of the birth of James Baldwin with this wide-ranging volume of short essays, reflections and poetry. This moving collection demonstrates the significant legacy of the writer and activist who spoke truth to power during the era of the fight for Black civil liberties in the US, and after.

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A New Statesman Book of the Year 2021. In this piercing and unforgettable memoir, the award-winning poet reflects on a year of turbulence, fear and hope. For acclaimed British-Guyanese writer Fred D'Aguiar, 2020 was a year of personal and global crisis. The world around him was shattered by the impact of the Covid-19 pandemic, Black Lives Matter protests erupted across the United States, California burned, and D'Aguiar was diagnosed with stage-4 cancer. Year of Plagues is an intimate, multifaceted exploration of these seismic events, which trouble and alienate D'Aguiar from community, place and body. Combining personal reminiscence and philosophy, drawing on music and on poetry, D'Aguiar confronts profound questions about the purpose of pursuing a life of writing and teaching in the face of overwhelming upheavals; the imaginative and artistic strategies a writer can bring to bear as his sense of self and community are severely tested; and the quest for strength and solace necessary to help forge a better future. Drawn from distinct cultural perspectives - his Caribbean upbringing, London youth and American lifestyle - D'Aguiar's beautiful and challenging memoir is a paean of resistance to despotic authority and life-threatening disease. In his first work of non-fiction, D'Aguiar subverts the traditional memoir with highly charged language that shifts from the quotidian to the lyrical, from the personal to the metaphysical. Both tender and ferocious, Year of Plagues is a harrowing yet uplifting genre-bending memoir of existence, protest, and survival.

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There has always been an intense physicality to D’Aguiar’s work, matched by a penchant for geographic groundedness and a biographical perspicacity, that has made him one of the finest writers of his generation. What is most striking about this chapbook is how much keeps him dreaming, even in places and situations where many imaginations would stumble and falter in the face of the relentless violence to which we have all become far too inured. There is hardly a Black British writer working today who doesn’t owe D’Aguiar a considerable debt, whether they know it or not.

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