In 2015, Inua Ellams was poet in residence at the Poetry Library at the Southbank Centre in London. His #Afterhours project took him on a voyage of cultural translation and transposition through time and place, to the heart of the libraries archive collections, and through his own life s story as he selected poems published during each year of his life, from birth to the age of 18.
In return, Ellams opens up a captivating and potent dialogue between poems, writing a diary and intricately-crafted poems of his own in conversational response to the poems he selected from the library collections. Here, for the first time together, are the collected #Afterhours poems alongside the re-discovered poems which inspired them and the diary entries which follow this journey. In Ellams meticulous hands, this becomes an entire narrative in its own right, compelling and magnetic, drawing parallels of displacement, language and reclamation, and showing poetry’s great capacity to be a powerful amplifier of human experience.
Winston Churchill’s political career spanned over 50 years, during which time he was alternately at the centre of power and out of favour. He is most remembered for his inspirational leadership in the second world war and his rousing speeches urging Britain to fight on. This book reveals the influences that shaped his life and career and looks at his strengths and weaknesses.
Quotation panels, featuring many of Churchill’s well-known sayings and comments, and the opinions of his well-known contemporaries, such as Stalin, are scattered liberally throughout. The final chapter examines his legacy and attempts to answer the question: how justifiable is his reputation in view of his achievements?
This epoch-marking anthology presents a map of poetry from Britain and Ireland which readers can follow. You will not get lost here as in other anthologies – with their vast lists of poets summoned up to serve a critic’s argument or to illustrate a journalistic overview. Instead, Edna Longley shows you the key poets of the century, and through interlinking commentary points up the connections between them as well as their relationship with the continuing poetic traditions of these islands.
The anthology covers the work of 70 poets: Thomas Hardy, W.B. Yeats, Edward Thomas, D.H. Lawrence, Siegfried Sassoon, Edwin Muir, T.S. Eliot, Ivor Gurney, Isaac Rosenberg, Hugh MacDiarmid, Wilfred Owen, Charles Hamilton Sorley, Robert Graves, Austin Clarke, Basil Bunting, Stevie Smith, Patrick Kavanagh, Norman Cameron, William Empson, W.H. Auden, Louis MacNeice, John Hewitt, Robert Garioch, Norman MacCaig, R.S. Thomas, Henry Reed, Dylan Thomas, Alun Lewis, W.S. Graham, Keith Douglas, Edwin Morgan, Philip Larkin, Ian Hamilton Finlay, John Montague, Thom Gunn, Ted Hughes, Geoffrey Hill, Sylvia Plath, Fleur Adcock, Tony Harrison, Seamus Heaney, Michael Longley, Derek Mahon, Douglas Dunn, Eiléan Ní Chuilleanáin, Paul Durcan, Tom Leonard, Carol Rumens, Selima Hill, Ciaran Carson, James Fenton, Medbh McGuckian, Paul Muldoon, Jo Shapcott, Ian Duhig, Carol Ann Duffy, Kathleen Jamie, Simon Armitage and Don Paterson.
The 52 project started with a simple idea: Write a poem a week. Start now. Keep going. It became a phenomenon. Hundreds of poets took up the challenge and their poems swept the board of poetry prizes, publications and personal successes. This book brings together the 52 prompts written by poet Jo Bell and by guest poets ranging from David Morley to Rachael Boast, so that you can pick up the challenge yourself. With contemporary poems to illustrate each prompt, it’s a fine anthology as well as a book of lively and engaging exercises for poets, whether beginner or well-established.
She was ten years old, but knew enough to wipe clean the handle of the bloody kitchen knife. The night was stifling; the windows were closed, sealing in the chaos. A table upturned, shattered crockery. Her distraught mother, bare shoulders raw with welts, knelt beside her motionless father. The child snatched up her backpack, and ran…
London sweats in the height of summer. The parched city has slowed to a claustrophobic shuffle and there’s no end in sight. Heroin-addicted investigator Catherine Berlin hides her scars from prying eyes while working on the worst of all cases: matrimonial.
The capital’s junkies suffer from a drought of a different kind. A strung-out ghost from Berlin’s past turns up on her doorstep with a desperate plea for help: her ten-year-old daughter is missing. Reminded of a debt owed, Berlin agrees to help, but the search becomes far deadlier than she could ever imagine, drawing her deep into an underworld of corrupt detectives, ruthless drug dealers, and a child killer…
A Bitter Taste is the thrilling second instalment in the magnificent crime series featuring civilian investigator Catherine Berlin, whose long-standing heroin addiction is only part of her story.
Meet Monsieur Benoit, who appeared suddenly in Paris with a scheme for telegraphing messages across the world (or, at least, across the room) by means of electricity and the telepathic power of snails, and actually raised the money to build this extraordinary machine.
His powers of persuasion clearly exceeded those of Colonel Baker, who seemed the personification of Victorian solidity until that embarrassing incident in the sealed railway compartment, where he failed to entice Miss Dickinson to join in his bit of fun, and afterwards had to try and explain his conduct to the High Court, with the whole nation hanging on his every word.
Here is a fascinating collection of some of history’s most extraordinary characters. Richard Glyn Jones has cast his net wide to gather these accounts of human oddity and eccentricity, and the standard of his writing is high, with Lytton Strachey, Derek Hudson, Christopher Sykes and Ronald Knox among the authors included. Hilariously funny, sometimes rather sad, but invariably interesting, this is a superbly diverting book. And, with a couple of tiny exceptions, it’s all true.
Organ donation is in its infancy and Daisy Howard, who is giving a kidney to her aunt, is in the hands of a pioneering surgeon. After the operation, Daisy is desperate to get back to her family, yet the days go by and she remains in the hospital; meanwhile, an old friend keeps visiting with news of home, and Daisy becomes increasingly uneasy.
A Fold in the Map charts two very different voyages: a tracing of the dislocations of leaving one’s native country, and a searching exploration of grief at a father’s final painful journey. In the first part of the collection, Plenty — “before the fold” — the poems deal with family, and longing for home from a new country, with all the ambiguity and doubleness this perspective entails. In the book’s second half, Meet My Father, the poems recount events more life-changing than merely moving abroad — a father’s illness and death, the loss of some of the plenty of the earlier poems.
“Italian writer and director Pier Paolo Pasolini once wrote that if a poet doesn’t manage to scare his readers anymore, then it would be better for him to run away from this world. What kind of use can in fact be a tamed poet to the human race? Apparently, Dan Fante knows this well: his first collection of poems by the unpronounceable title, A Gin Pissing, Raw Meat, Dual Carburattor V-8 Son-of-a-Bitch from Los Angeles, shows that he literally aims with his works not only to scare, but also to scar his readers, biting their minds, hearts and souls with his words: indeed, Dan Fante’s poems are a poetic ebb and flow revolving on the readers conscience…” – Erasing Clouds
An exquisite collection from a poet at the peak of her powers, A God at the Door spans time and space, drawing on the extraordinary minutiae of nature and humanity to elevate the marginalised. Extending the territory of her zeitgeist collection Girls Are Coming Out of the Woods, these new poems traverse history, from the cosmic to the everyday. There is a playful spikiness to be found in poems like ‘Why the Brazilian Butt Lift Won’t Save Us’, while others, such as ‘I Found a Village and in it Were All Our Missing Women’, are fed by rage. As the collection unfolds, there are gem-like poems such as ‘I Carry My Uterus in a Small Suitcase’ which sparkles on the page with impeccable precision. Later, there are the sharp shocks delivered by two mirrored poems set side by side, ‘Microeconomics’ and ‘Macroeconomics’. Tishani Doshi’s poetry deploys beauty to heal trauma, enabling the voices of the oppressed to be heard with piercing clarity. From flightless birds and witches, to black holes and Marilyn Monroe, A God at the Door illuminates with lines and images that surprise, inflame and dazzle.
As art critic of The Spectator, Andrew Lambirth’s reviews and articles have been entertaining and informing readers of the magazine since 1996. As he himself has written : “The coverage that this magazine, a weekly, gives to the arts is far wider than many daily newspapers. I wish more arts editors would take the initiative to cover a greater range of exhibitions than just the obvious.”