Moniza Alvi’s new book is unified by birds. Her creations ‘Motherbird’ and ‘Fatherbird’ are inspired by her parents, and by the loss of her father and by his emigration from Pakistan. Among the many bird-related poems are versions of the French poets Jules Supervielle and Saint-John Perse, and poems ‘after’ the paintings of the Spanish-Mexican surrealist artist Remedios Varo. Blackbird, Bye Bye is Moniza Alvi’s first new poetry book since her T.S. Eliot Prize-shortlisted collection At the Time of Partition, published in 2013.
Milner Place: Born 25/1/30… First job timber faller before doing National Service 1948/50… Some time at Agricultural College but opted out… worked as barman… managed farm and estate… got involved in horse racin… 1953… sailed to South Africa… worked as undergound surveyor copper mines… managed fruit farm…1955 returned to England to manage another farm, left and entered journalism…1958… sailed to new York …1958/61… Bahamas, did some surveying work. Bought a dinghy and learned to sail. Then a sloop, freighting and fishing… skippered for Burl Ives… took over yacht in Miami… returned to England… left for Majorca…Dec 1961… smuggling run to Algiers during war, cargo one man… Supplemented income by smuggling money from England for Brit living abroad…1962… took over staysail schooner, working Balearics and wintered yacht in Ibiza…spent time in Bilboa and Madrid…Sailed to Italy, left Autumn 1963…wintered Madrid…1964…bought sloop and summered Burnham-on-Crouch…1965…took job as captain of ketch built in Holland and sailed her to Lisbon…met Count of Barcelona and his son (now King of Spain). Wintered in Gibraltar and Tangiers, then to Cadiz and Seville…back to Lisbon where did several ocean races with Count of Barcelona…quit job with ketch and sailed with Count for England…1966 Autumn…sailed own sloop to Bordeaux and via Canal du Midi to Toulouse…left for Denmark to convert a working trading schooner to a yacht… 1967…sailed same to Malta to effect conversion…did a delivery to Greece (minus keel)…August 1968 quit job and returned Spain…then France to pick up own sloop…lost it off Spanish coast, wandered round Andalucia, returned London courtesy of consular services…back to Malta to do honeymoon charter for couple, sailing to Tunisia via Lampedusa…1969…employed as consultant by Forte’s International Hotels on projects in Sardinia and Greece…left for Ecuador for job as consultant Tourist Investments S.A…9 months organizing marlin fishing fleet, Punta Carnero…left for Peru under threat of charge of Piracy, consultancy work on Manu River project, others in Brazil and Panama…1971… England and then Grand Canary, where scratched a living as a photographer…1973…took off for Mexico to write unsuccessful novel…1976…moved to Majorca now with partner, Dorothy and stepson Paul…1977 first poems published in Spanish…trip to Canada – hashish smugglers – didn’t…1979/82…Boroughbridge, N.Yorks… worked as petrol station attendant, filling shelves at supermarket, night-watchman and running a B&B…1982/87… ran hotel in Alston, Cumbria until bankrupt…Jan 1987…came to Huddersfield, went to workshops, became sort of poet.
Winner of the 2018 Shine/Strong Poetry Award
This powerful debut collection takes us back to ‘the hatchling, nestling, fledgling grounds’ of Finglas where Rachael Hegarty was born and reared. Portrait of a working class community, portrait of a dispossessed and politically betrayed community, portrait of a self-reliant, proud, and supportive community — ultimately it is a portrait made with love and gratitude, to family, to neighbours, to friends of her youth, feral and otherwise, to teachers and to her own students, by a sophisticated and knacky literary artist of the highest integrity. This is a joyous and clear eyed book that draws on and augments the song tradition of an artistically rich area of north Dublin, a lyric tradition that encompasses Bono and Dermot Bolger; it opens that tradition to the critique and edge of contemporary poetry practice, and to the winds of Japan, Boston, Walden Pond, Emily Dickinson’s Garden. Compassionate to the living and to the dead alike, this poet stakes her ground, as mother, as lover, as artist, as link in the eternal and marvellous chain of being. – Paula Meehan
CCTV cameras, TV recording equipment, microphones, all capturing and recording events in peoples lives. In today’s Big Brother world, these constant intrusions are at once a threat and a comfort – moments would be lost forever without surveillance. Tim cumming tells of events caught on camera as they happen to disparate protagonists, seemingly at random, but which dissolve into one another as they loose partners, jobs, identities and belief. “Contact Print” is set in a traffic jam on the Holloway Road in London. Its hero is Tony Harris, who is seen driving away for the last time from his married girlfriend’s house into a traffic snarl-up, a demo, a pub, a maze of memories, the city or the city itself, repeating itself to the horizon, which finally swallows him up. Along the way we are treated to arresting images of urban life, from the kidnapping of a junior minister to doing smack in the toilets of Paddington station. This is a world of personal and political instability, captured with photographic accuracy.
Tim Cumming’s poems have been published widely in Britain and America, and he writes regularly for The Guardian and The Independent. His work has been broadcast on BBC radio and TV, and he has featured in the New Voices season at the South Bank. He lives and works in London.
“At the multi-laned intersection to the M20 I listened to Alanis singing her heart out about the pain of isolation and loss and I burst into tears in an Oxford Green Jaguar X Series 3 litre car.”
Like missiles, these poems shoot out into the world seeking light and warmth from out of the darkness of illness. Peter Carr’s poetic voice mirrors the fast-paced juxtopositions of a life previously spent in an internationalist world of commerce. Wide-ranging and uncompromising, ironic, darkly comedic and sometimes bitter, and populated by the unconventional, the displaced and the lonely, the collection is nevertheless bound together by the realisation and need of the importance of human encounter, companionship and love in an illusory and earth-shifting world. – Maggie Harris
Assembly Lines asks what it means to be here and now, in post-industrial towns and cities of the heartlands that are forever on the periphery. From schools and workplaces and lives lived in ‘a different town, just like this’, these poems take a historical perspective on the present day from the ground upwards – whether the geological strata that underpins a ‘dithering island’ or the ever-moving turf under a racehorses’ hooves. This is a new Midlands realism, precision-engineered, which seeks wonderment in unlikely places. By turns both fierce and tender, the poems in Jane Commane’s first book-length collection re-assemble the landscape, offer up an alternative national curriculum and find ghosts and strange magic in the machinery of the everyday. Between disappearances and reformations, the natural and the man-made, the lines are drawn; you might try to leave your hometown, but it will never leave you.