Beginning in present-day St Petersburg, The Russian Jerusalem explores the landscape of twentieth century Russian literature. In this evocative autobiographical novel, distinguished poet, translator, novelist and biographer Elaine Feinstein moves among the dead poets of Stalin's Russia with the poet Marina Tsvetaeva as her Virgil, mingling with the ghosts of writers such as Anna Akhmatova, Boris Pasternak, Osip Mandelstam and Joseph Brodsky. These imaginary encounters are interspersed with new poems by Feinstein. The author, herself of Russian descent, reconstructs the lives and fates of Russian, often Jewish, writers during the long age of Soviet terror, re-establishing them at the heart of the European tradition.
Caroline Bird's two earlier collections were acclaimed for their exuberant energy, surreal imagination and passion - 'a bit of a Howl for a new generation', wrote the Hudson Review. Watering Can celebrates life as an early twenty-something. The poems, writes Caroline Bird, 'contain prophetic videos, a moon colonised by bullies, weeping scholars, laughing ducks, silent weddings - all the fertiliser that pours on top of your head.' The extraordinary verve and compassion of her verse propels us into the anxiety of new responsibilities. Raw but never hopeless, Watering Can has comedy, wordplay and bright self-deprecation.
Extended Family is a sensual celebration of the varied relationships that make up lives richly lived: from the subtle, intimate interactions of close family members and lovers, to the mutual rewards and stresses of relationships with friends, therapists, students and housemates. The book begins in America, with childhood memories and adolescent love. In the second section, 'Younger Men Have Birthdays Too', a love affair unravels in a sequence of tender, angry love poems. In the final section, relationships encompass casual interactions and the close understandings of friends, loving kindness and the chaos of mental breakdown. Linda Chase's wit and sharp eye for telling detail make this a collection in which, with a wry eye, the poet can express heartbreak, and the narratives of the everyday reveal unique moments of insight.
The Book with Twelve Tales is a gallimaufry of stories: comic, frightening, exotic and magical. Here, in John Gallas's richly imagined narrative worlds, are the American gothic of Morten Mortenssen, the pig who eats his owners; the sexual folktale of a comedy of Mongolian marriage; a fable of the power of the imagination as a poet is interrogated by a president. Then there is the terrifying Arctic potentate Zigismund Walrus in his nightmare palace of ice, and the true adventure of the author and Turkish rabies. Gallas's exuberant language draws the reader into twists of plot and dialogue, through tales of evil and violence, love and generosity that reaffirm the power of humour and the value of shared wisdoms.
Wordsworth's 'meanest flower that blows' suggested to him 'thoughts that do often lie too deep for tears'. The lyrics, elegies, songs and ghazals in Mimi Khalvati's book pay attention to things the imagination generally disregards, an attention that is concentrated, intense and unapologetically Romantic. Hers is the true voice of feeling, undeflected by irony or self-deprecation. There is rapture in these poems as well as a tragic sense: nature, childhood, motherhood and family relationships all have a double valency, a give and take, to which Khalvati witnesses with a feeling sharpened by love and grief.
A to B began as a poem about a journey: it became a journey in itself, a collection that travels through emotions and places, unfolding to the rhythms of discovery and memory. Places and people reveal their secrets; fragile bonds of love link past to present. In the book's first part, an elusive pattern is glimpsed in fragments: a plane climbs into a clear evening sky, the year turns to spring, a father's voice is remembered after his death. The second part is marked by meticulous observation. A man watches daylight creep across a room. And the concluding section celebrates a quality of silence in which imagination grows. Gerry McGrath extends our understanding of what it is to travel through the world.
Sophie Hannah's sharp pen dissects modern life and relationships with insouciant honesty and ruthless wit, and her love poems evoke timeless feelings with a shrewd simplicity that deepens her range. An edge of desolation, tenderness - an occasional flash of cruelty - and an ebullient delight in language make this a book of bittersweet pleasures. Pessimism for Beginners includes an extract from the opening chapter of Sophie Hannah's second psychological thriller, Hurting Distance, published by Hodder &Stoughton, described by the Times as 'a superbly creepy, twisty thriller about obsessive love, psychological torture and the darkest chambers of the human heart'. In poetry and prose, Sophie Hannah is compellingly readable.
In The Canary's Songbook Karen Press explores the inescapable shaping power of personal and public histories in individual lives and political processes. The theme has deep roots in Press's native South Africa. The desire to find ancestors who can be invoked as sources of wisdom, or validations of unwisdom, is a central preoccupation of the poems, given force by Press's understanding of South Africa's continuing, painful dialogue with its own past. The Canary's Songbook affirms how universal such themes are, placing Africa on its own terms within a global culture whose attractions and corruptions touch all, and in which individuals struggle to make whole lives from the fragments they inherit.
The naturalist Gilbert White is at the heart of this collection. Like him, Jeremy Over explores an ecology with meticulous acuity. His poems are 'found in the field': the beauty and oddity of the language of others is brought into sharp focus. Robert Herrick's 'sweet disorder in the dress' is subjected to a series of disrobings; a guidebook, instruction manual and catalogue become occasions to celebrate the pleasures of language. Setting out from White's Natural History of Selborne, Over embarks on a sequence of poems that, in White's words, lend 'an helping hand towards the enlargement of the boundaries' of natural history. A deep seam of Englishness - Stanley Spencer, Samuel Palmer, Henry Purcell - runs parallel to an American dimension, and further off in time and space are traces of Tristan Tzara, Rumi and Wang Wei. The reasonable language with which we try to contain the unreasonableness of things here trips, spins and flies into new figurations.
The Welsh publishing house Gwasg Gomer published Gillian Clarke's first full collection of poems, The Sundial, in 1978. In the twenty years since then the poet has become one of the best-loved and most widely read writers of Wales, well-known for her readings, for her radio work and her workshops. 'Gillian Clarke's poems ring with lucidity and power . . .her work is both personal and archetypal, built out of language as concrete as it is musical,' the Times Literary Supplement said. She combines traditional skills with an original voice and outlook, and with a history which includes the unwritten stories of Welsh women. Her Selected Poems has proven one of the most popular volumes of modern Welsh poetry, having gone through seven printings in a dozen years. Her language has a quality both casual and intense, mundane and visionary,' the Listener said of Letter from a Far Country. There is no gaudiness in her poetry; instead, the reader is aware of a generosity of spirit which allows the poems' subjects their own unbullied reality.' Gillian Clarke is a severe critic of her own poems. Collected Poems includes all that she wishes to preserve of her work to date.
Peter Pindar (1738-1819), the pen name of John Wolcot, dared to ridicule the foibles, corruptions and misdemeanours of King George III and those in power in his kingdom. His satire was merciless, but Wolcot survived accusations of treason, protected by his wit and readership. His admirers included Lord Nelson and the Prince Regent himself; to Robert Burns he was 'a delightful fellow and a first favourite of mine'. Fascinating for what they reveal of the world of Hanoverian England, Peter Pindar's audacious poems still shock the modern reader into laughter at the unchanging characteristics of the arrogant and powerful. Fenella Copplestone's introduction and notes illuminate social and literary contexts of Pindar's writing.
Teasing, funny and celebratory - Rays is a wry and tender lover's gift. Continuing Richard Price's virtuosic playfulness of form, it improvises on the formal shape of sonnet and canzone, charging them with the energy of blues and rock, glimpsing narratives of desire. In a restless, sleepless landscape where language becomes shrill, an alphabet of love poems creates a dreamy island, between the solace of haiku and the precisions of Emily Dickinson. The Renaissance poet Louise Labé and an imaginary band, The Loss Adjusters, sing the complex beauties of passion.
The drop of water on the tongue, writes Gillian Clarke, 'was the first word in the world', and the language of water is the element in which these poems live. Ocean currents create histories and cultures - the port cities of Cardiff and Mumbai; myths are born where great rivers have their source high in the mountains. A bottle of spring water contains the mineral elements of life; we can read the earth's deep history in arctic ice. We share the rhythms of migrations in the pull of tides and seasons through rivers and estuaries. In her first collection since becoming the National Poet of Wales in 2008, Gillian Clarke explores water as memory and meaning, the bearer of stories that well up from a personal and collective past to return us to the language of the imagination in which we first named the world.
Eye of the Hare affirms a spirituality for healing a shattered world. In a richly textured collection, layered with Biblical echoes and the music of the Psalms, John F. Deane explores the possibilities of poetry to redress the failures of care towards the planet and the needs of society. Deane revives the language of sacrament and celebration with raw and tender grace; in sonnets, narratives and lyrics Eye of the Hare advances towards redemption. In the book's final section, Deane honours the places and landscapes of Achill, that beautiful, demanding island off the west coast of Ireland.
When Elaine Feinstein first read the poems of Marina Tsvetaeva in Russian in the 1960s, the encounter transformed her. 'What drew me to her initially,' she writes, 'was the intensity of her emotions, and the honesty with which she exposed them.' Her translations, first published to great acclaim in 1971, introduced Tsvetaeva to English readers. It was the start of Feinstein's continuing engagement with a poet who has been an enduring, challenging inspiration to her, and whose life she has written. To this enlarged edition Elaine Feinstein adds five major pieces. 'Girlfriend', a sequence of lyrics, was written for Tsvetaeva's lover Sofia Parnok. In 'New Year's Greetings' she responded to the death of Rainer Maria Rilke. 'On a Red Horse' is a dramatic fairytale of power and cruelty. 'Wires', of which two lyrics were included in the earlier edition, now appears in full; and a previously omitted lyric from 'Poem of the End' has been translated. With a new introduction, notes and bibliography of works in English, Bride of Ice brings Tsvetaeva to a new generation of readers.
Carrying the Songs explores what is lost to time and change, and what endures and is transformed: languages and landscapes, artefacts and songs, carried through a lifetime, across oceans, across centuries. A long-forgotten Gaelic word surfaces from childhood and is reanimated by use; a tiny Stone Age carving speaks across millennia of a shared human impulse to create. At the heart of this collection is migration, the rhythm that draws together the natural and the human worlds. Luminous and precise, Moya Cannon's poetry resonates like remembered songs. Included with the new poems in Carrying the Songs is a generous selection of the poems from Moya Cannon's much-praised earlier collections, Oar and The Parchment Boat.
W.B. Yeats (1865-1939) began writing poetry as a devotee of Blake, Shelley, the pre-Raphaelites, and of nineteenth-century Irish poets including James Clarence Mangan and Samuel Ferguson. By the end of his life, he had, as T.S. Eliot said, created a poetic language for the twentieth century. The First Yeats deepens our understanding of the making of that poetic imagination, reprinting the original texts of Yeats's three early collections, The Wanderings of Oisin and Other Poems (1899), The Countess of Kathleen and Various Legends and Lyrics (1892), and The Wind Among the Reeds (1899). The poems were subsequently heavily revised or discarded. Among them are some of the best-loved poems in English - 'The LakeIsle of Innisfree', 'He Wishes for the Cloths of Heaven' - fresh and unfamiliar here in their original contexts, together with Yeats's lengthy notes which were drastically cut in the collected editions. This illuminating edition by Edward Larrissy, editor of W.B. Yeats, The Major Works (Oxford University Press, 2000), includes an introduction that clarifies the literary, historical and intellectual context of the poems, detailed notes, and a bibliography. It offers essential material for reading -and revaluing - one of the great modern poets.
Peter McCarey's first full collection, comprising work from his five pamphlets, is an exhilarating journey on the U-bahns and runways of language: In a matter of hours / they can take you anywhere'. Collected Contraptions opens with water, rain and shadows; the inscription of the singer's mark' from the lost language of the Indus Valley civilisation shines from a Shakespeare sonnet; we are caught in a sci-fi spaghetti Western; a shady Czech smuggles a golem and a robot into pre-massacre Rwanda. Language shape-shifts, reinvents itself, before going on another road trip where stories are recited backwards and fast forward. Last is Tantris', an epic of intricate narrative whose message couldn't be more simple: Don't go: don't let the morning/ Turn your head with her shivering, thin grace.
A Man Could Stand Up -the third volume of Parade's End, brings Ford's characters to the 'crack across the table of History', across which lie their uncertain post-war futures. Divided into three parts, the novel is a kaleidoscopic vision of society at a climactic moment. The Armistice Day fireworks heard by Valentine Wannop in London with which the novel opens are echoed in the nightmare bombardment of the second part, as we are taken back to the war and Christopher Tietjens, staggering through the mud of No Man's Land with a wounded soldier in his arms. The final section returns to Armistice Day and joins the two characters in a frenetic dance, while Tietjens' wartime comrades smash glasses drunkenly around them. For the first time, the four novels that make up Ford Madox Ford's First World War masterpiece Parade's End are published in fully annotated editions, with authoritative corrected texts. Each novel is edited by a leading Ford expert. A Man Could Stand Up - includes -- the first reliable text, based on the hand-corrected typescript and first editions -- a major critical introduction by Sara Haslam, Senior Lecturer in Literature at the Open University and author of Fragmenting Modernism: Ford Madox Ford, the Novel and the Great War -- an account of the novel's composition and reception -- annotations explaining historical references, military terms, literary and topical allusions -- a full textual apparatus including transcriptions of significant deletions and revisions -- a bibliography of further reading. Cover painting: Paul Nash, The Menin Road,1919, IWM Art 2242 (detail). By permission of the Imperial War Museum. Cover design StephenRaw.com
Inspired by the flotsam of contemporary culture, Philip Terry transforms Shakespeare's sonnet sequence into a celebration of language unleashed. The results are as disrespectful and anarchic as a cartoon - and as assured in their control of line. Philip Terry, an acclaimed translator of the poetry of Raymond Queneau, plays language games by the rules of Oulipo in his creation of a Shakespearean chimera, the hybrid that takes on a life of its own.
With the economy of proverbs and the psychological insight of a novel, Toon Tellegen's acclaimed sequence Raptors depicts the dynamics of a family held hostage by the mood-swings and histrionics of a father, a figure both comic and terrifying, grotesque and pathetic. Tellegen's mercurial imagination evokes the dark archetypes of European folklore and reanimates them with a sophisticated sense of the endless fluidity of relationships, the instability of interpretation. An improvisation on a theme, circling back to my father' at the start of each poem, Raptors builds to a story without narrative, its extravagant imaginative leaps into absurdity held within a framework of tender observation. Toon Tellegen's translator Judith Wilkinson has worked closely with the poet to create English poems that capture the startling clarity and inventiveness of the original Dutch. Raptors has the rewarding intensity of a modern classic.
Surely none of us can have been left quite unaffected by the recent startling and unfortunate disaster of the disappearance of the Great Poetic Anthology into the electronic cracks between the major academic institutions which were preparing it - something which one might have thought to be impossible in this age of unremitting communication. Nothing can compensate us for a loss of such magnitude. And yet here is some slight alleviation. Just over a year and a half ago, a copy of what seems to be a version of the index of first lines of the vast confusion of lost poems mysteriously turned up in a Latin American restaurant in Glasgow. No time has been lost in offering it to a still disconsolate public. It is not nothing that a portion of what promised to be the greatest collection of poetical thought of all time has not been utterly lost. And, as it happens, such is now not the case. No. Not so. For here indeed are depths, insights, provocations and astonishments. Or, at least, the beginnings of them.
Best-selling poet Sophie Hannah returns with a wonderful collection of poems that explore and celebrate strong feelings: love, hate, anger, hope - and which strip away the veils of hypocrisy and pretence from all aspects of everyday life. From relationships to the world of work, motherhood and marriage, Sophie Hannah tells it how it is in her own inimitable style. Funny and moving, these poems combine traditional form and rhyme with a contemporary take on modern life that simultaneously raises a smile and provides thoughts to linger over. This collection also include A Woman's Life and Loves, eight poems set to music by the composer Gabriel Jackson that form a song cycle originally concieved as a contemporary and feminist response to the Schumann song cycle. Sophie Hannah's first book was greeted with amazement. The Poetry Review declared, 'Shall I put it in capitals? SOPHIE HANNAH IS A GENIUS.' Each subsequent collection has been formally more inventive, thematically more complex, yet each has met with a similar welcome, and she has become that rare thing, a popular and best-selling poet.
Following Looking Through Letterboxes, her first collection (2002), Caroline Bird was acclaimed as a vivid and precocious new talent. Trouble Came to the Turnip confirms her originality as she strikes out again in new directions, taking nothing for granted. Her poems are ferociously vital, fantastical, sometimes violent, almost always savagely humorous and self-mocking. Caroline Bird's world is inhabited by failed and (less often) successful relationships, by the dizzying crisis of early adulthood, by leprechauns and spells and Miss Pringle's seven lovely daughters waiting to spring out of a cardboard cake. And the turnip.
