Search results for ""shearsman books""

"Beast enters incisively, like claws. It arrives with gleaming fur and stinking. It's a creature that spills its guts and impels the same from others-peoples, animals, limbs, foodstuffs, logical thinking, familial and sexual relations. In Irene Sola's scenes, there's nothing that isn't jammed together and insecure but what's constant is temperament. Beast comes swiftly, with a brazen laugh and cocked ears. Watch out when the lines pause for weird and possibly lethal detours. As Sola jolts, pulses and pushes off, she might leave the paths littered with bouquets or corpses." -Heather Phillipson "Sensuous, precise, and profoundly generous in their glimpses of strikingly private narratives, Sola's poems feel perfectly placed for the strange heat of our times..." -Ben Rivers "After drinking orange blossom water until she vomited everything that she had inside her, the writer and artist Leonora Carrington wrote that her stomach was `the mirror of the earth'. Sola's Beast has a duckling in the belly; the words it makes her sick up are evil, brittle, full of feeling. I'm excited to see this translation from the Catalan unleashed on UK poetry." -Sophie Collins

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Showcasing some of Michael Smith's more unusual translations, this volumes features a version of the Anglo-Saxon Battle of Maldon, together with translations of two long 18th-Century Irish poems, The Death of Art O'Leary and Sean O'Dwyer of the Glen, and 250 cantes flamencos.

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The first double-issue of Shearsman magazine for 2021. Poetry by Charlotte Baldwin, Linda Black, Melissa Buckheit , Charlotte Baldwin, Susan Connolly, Harriet Cooper-Smithson, Claire Crowther, Amy Crutchfield, Jane Frank, Amlanjyoti Goswami, Christopher Gutkind, Mandy Haggith, Jeremy Hooker, David Johnson, Norman Jope, L Kiew, Peter Larkin, Mary Leader, Carola Luther , Robin Fulton Macpherson, Olivia McCannon, Peter Robinson, David Rushmer, Maurice Scully, Aidan Semmens, Lucy Sheerman, Hannah Cooper Smithson, Agnieszka Studzińska, Scott Thurston, Anannya Uberoi, John Welch, Petra White, Tamar Yoseloff & translations of Marta Agudo (by Lawrence Schimel), Kjell Espmark (by Robin Fulton Macpherson), Kinga Tóth (by Annie Rutherford) & Virgil (by David Hadbawnik). With this issue, Shearsman magazine marks 40 years of publication.

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Epic Series brings together three long poems by Eléna Rivera previously published in small press limited editions. Gathered here are Wale; or The Corse, Unknowne Land and The Wait; for Homer’s Penelope. These poems delve into the complexities of becoming and into what it means to be from more than one world, where place is continually shifting, where memories, languages and stories are carried and swallowed up by much larger histories— histories of conflict, translocation and injustice. “Eléna Rivera’s Unknowne Land is a brilliant, mature, deeply engaging work, whose Question is constructed through its unfolding shape—a developing exhalation of grief and wasted opportunity, both classical in its references and recasting of history quest/myth, as well as expansively modern in its resistance to these known parameters. Rivera’s writing is contemplative and thickly quiet, then bell-clear with linguistically researched tones of word on word, her ear perfectly pitched . . . . We are given a contemporary Dantesque work of unique elements held together by spiritual accident and intention—its paradox explored and revealed through the book’s architectural underpinnings and entirely unexpected vision.” —Kathleen Fraser, judge of The Frances Jaffer Book Award “. . . this is a poem of and about extremity, and it reiterates poetry's ongoing role as an extreme discourse of beginnings and apocalypses, strophes and catastrophes. Language explodes or implodes between the double pressures of tradition and innovation. The eruptions and earthquakes and tremblings in Unknowne Land are only the most literal manifestation of this tension.” —Elizabeth Willis, The Poetry Project Newsletter “Quotation or paraphrase are inadequate to the range of emotional reference in Rivera’s book, in part because the emotion accumulates bit by bit—or element by element—as the pain becomes more pronounced (“To reduce the impact, I curl / my body forward”). By allowing that ‘each piece has to be stitched together,’ Rivera advocates a careful reading of the work in its entirety; in this way, her emotional argument gains force and momentum.” —Dawn-Michelle Baude, The Chicago Review “‘Who bears a record of the world?’ Rivera asks as the beginning of the text’s first section ‘Fire,’ and we hear immediately not only the impossibility of a project of such breadth being ‘borne,’ but also the impossible weight of such a responsibility, given the horror of that record. . . . Hers is a language rich with elegiac illumination, ever testing the edges of the illusory. Rivera questions the possibility for any meaning to adhere, even as she entrances us with the ‘rhythm of the pencil’ in her attempts.” —Rusty Morrison, Poetry Flash

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"In House At Out, Mark Goodwin steps beyond the physical landscapes of Back of A Vast, into a new topography: a world that is a "wild's inf i nite b its" approached through the gaps and hollows in the word. The holes are apertures as we zoom into language, crack open word hordes and find worlds of association, "hole keys" with which we open kinetic lands as nimble as "music thinking of water". Here are poems that "house and home // and hone a mind of sky-leaf sheets." Step out with this book and relish the trip elsewhere." -Simon Perril

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In these mercurial poems, real and imaginary events combine with overheard, quoted and misquoted voices to produce a slippery and unreliable series of opinionated poems. What appear at first to be heartfelt confessions reveal themselves to be exercises in ventriloquism, argumentative fictions that seek to subvert and surprise the reader. This poetry is a different kind of beast to what you might have expected.

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