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The poems in Near-Life Experience are curious about the world, the present moment, its weather and animals, its objects and things. They want to make it real in language before it changes, vanishes. Documenting landscapes, paintings, insects, and trees, Near-Life Experience experiments in precision. Understanding is subverted by the day's distractions and the unexpected shapes of the imagination. How do I relate to this? What does it mean? What's happening, exactly? Does experience experience me? Description shapes into a different precision, the poet finds humour and panic at the changing edges of the actual. The poems include a variety of walk-on parts – from Breughel's hunters in the snow and American painter Richard Diebenkorn to nineteenth-century geologist James Hutton and the poet's own friends and intimates. They measure his expanding and contracting times, birthdays, seasons, climate breakdown, witnessing the moment and its 'sheer / ongoing changes'.
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Nietzsche, warning his countrymen in the Bismarck era against the nationalism that sought to promote all that was anti-rational in the German tradition, exhorted them to be 'good Europeans', avatars of the enlightened economic man of the eighteenth-century. Yet as RG Collingwood observed in his last great inquiry into the nature of civilisation, a book written to the glory of Hobbes at the height of the London blitz, Nietzsche was himself a victim of the disease he diagnosed. In The Good European Iain Bamforth's reports on fifteen years of 'experimental living' during which his attachment to the old continent brought him from Berlin, in the week in which he saw the fall of the Wall in 1989, to Strasburg, heart of aboriginal Europe and the city of noses in Tristram Shandy. Thrown into a deep identity crisis by Bismarck's victories against the French in 1870, pilot region for some of the modern state's most radical policies (health insurance, public relations), Alsace's divided loyalties have affected the nature of Europe itself. With his ear attuned to the complexities of culture and politics, Bamforth attempts to discover Europe through extra-diplomatic channels: he offers essays on writers and thinkers who have done much to define the small archipelago on the edge of Asia, including classics such as Kleist, Kafka, Roth and Benjamin, WG Sebald and Mavis Gallant. He provides a portrait of the Nazi jurist Carl Schmitt, a send-off for Bernard Pivot's classic literary chat-show Bouillon de Culture, a scrutiny of philosophising media pundit Peter Sloterdijk, landscapes from Provence and Bavaria, reports from Prague and Geneva, Franco-German shibboleths, a sarcastic letter from 'Kakania', and an anatomy of the Alsatian humorist Tomi Ungerer. Europe often reeks of the terminally nostalgic and the curatorial: here a sceptical Scots intelligence reaches out to Musil, Heine, Gogol, Sterne, Montaigne, Rabelais and beyond the 'standard average European' to the gallant, helpless, hero-smitten Don, in the hope that they can help him find the way towards a more generous Europe.
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Daring and vulnerable, this is the highly anticipated new collection from Griffin Poetry Prize winner Billy-Ray Belcourt. In The Idea of An Entire Life, Belcourt delivers an intimate examination of twenty-first-century anguish, love, queerness, and political possibility. Through lyric verse, sonnets, fieldnotes, and fragments, the poems—sometimes heartbreaking, sometimes slyly humorous—are always finely crafted, putting to use the autobiographical and philosophical style that has come to define Belcourt's body of work. By its close, the collection makes the urgent argument that we are each our own little statues of grief and awe. 'When I wrote my first book of poetry,' reflects Belcourt, 'I wrote from a place of desperation. I wanted very desperately to live a full queer Indigenous life and I wasn't sure if I would attain it. The Idea of an Entire Life began with the realization that I have that life now and so I wanted to think through the ways a queer Indigenous life is hampered by history but nonetheless full of possibility. What will the rest of my life make available to me? How has the twentieth century indelibly shaped me and my community? The book is about my reserve in northern Alberta, how the past tailgates me wherever I go. It's also about my coming-into-being as a queer Indigenous man and how I've tried to remake my conditions of living to enable flourishing and possibility.'
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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.
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'I am drawn to paintings that catch glimpses of ordinary people in rooms that lead to other rooms,' Beverley Bie Brahic says. Apple Thieves is full of such painterly moments, remembered or caught on the fly, with their charge of mystery, like this shell – 'an empty house / a nudge will set rocking / almost indefinitely' – collected on the coast of her native British Columbia, whose diverse populations and their migrations she evokes in 'Root Vegetables'. Today, long resident in France, she relishes Paris – 'Smelling of piss and baking bread / The city in its glory and dereliction' – 'time-hedged cottages' and the earthbound in all its fragility.
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Miles burrows, the master of humorous, oddly profound poetic 'sketches' and dramas, returns with a new book of what he calls 'incidental verse', written in England and abroad, concerned with sickness and ageing as drama, where clinical situations are reflected in a series of vignettes staged between reality and dream. The poems' characteristically mordant observations alight on subjects from a child's death to a shaman performing a ritual ceremony for the journey between Heaven and Earth, or the image of wheelchairs pushed under a tree by the Thai carers in a poem which dwells on how ageing people pass the day in different countries. Burrows knows that these reminiscences are in danger of falling back on their own material's natural comedy, like a spider continually struggling to get out of an empty bathtub as one poem's title has it. In another poem, a moorland pony stuck fast in a bog, sinking, is rescued by a team with a jeep who attach a belt round him and lug him out. These poems are second thoughts, cartoons, esprits de l'escalier, sybil's leaves, poems at a tangent, unspoken repartees. Like sketches done in a café by a person absently rubbing his thumb into some spilt coffee...
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A Poetry Book Society Recommendation This is a book of wonderings and wanderings. Many of the wanderings are on familiar territory explored on foot, the hills of Wicklow and of the Burren in Co. Clare, the shorelines of Dublin Bay, of North West Donegal, of Galway, Achill and the Aran Islands. Other poems bring us farther afield, to a French village on the banks of the Saône, to the Venetian Island of Torcello, to a sacred mountain lake in China. In these poems there is an alertness to the palimpsest of lives, human and non-human, lived in these places and the mystery of each individual life. The poems bear witness to our primal kinship with the natural world, a source of nourishment, joy and solace, but also to our disastrous, onrushing human conquest of that same earth and seas. The poem 'Bunting's Honey' is a tribute not only to those who composed and played early Irish harp music but also to those who collected the music and who, long after their own deaths, made possible a most remarkable renaissance of that same musical tradition. Similarly, 'The Glance', a meditation on Giovanni Bellini's astonishing painting of a Madonna in the Santa Maria Gloriosa dei Frari in Venice, is a gasp of wonder at how tenderness and trepidation can be conveyed by pigment and brush across five centuries. 'A Technology' explores the quantum leap of literacy in allowing us, after so many millennia of human existence, to communicate details, not only of our outer lives, but also of our inner thoughts to those not immediately in our presence. 'Girls Trained in Beautiful Writing' considers the empowerments of literacy and the limitations imposed on that empowerment. There are other wonderings, not least the horrors of the wars of the twenty-first century, and the need to find a way to somehow set aside fear and difference and to give peace and tenderness a chance.
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that which appears gathers together four book-length sequences; The Hundred Thousand Places, Yellow & Blue and Farm by the Shore, all previously published by Carcanet, plus the title book, that which appears, published by Paragon Press (1994). The poems gathered in that which appears emerge from a practice of walking in the varied landscapes of the highlands and islands of Scotland. They attempt to attend and respond to the evidence, to 'snow on moss on stone', with 'small continual adjustments'. A conviction grows that environmental damage can only begin to be repaired by many careful and repeated acts of attention. How can we move here with resourcefulness and least intrusion? Can poetry be generous in response while subject to an ethic of care for place and particularity? Can it provide spaces that will allow for, that welcome and celebrate, that which appears?
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thrums / Thomas A Clark. - [miejsce nieznane] : Carcanet Poetry : Legimi, 2025.
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'to be affected in many ways is the sole ambition of the days' thrums grows out of Clark's celebrated collection, that which appears, in an extension and affirmation of that book's particular aesthetic. Including poems first published in London Review of Books and New York Review of Books, the poems' closely observed landscapes tell of presence and loss, of change and precarious continuity. One of Scotland's most distinctive writers, a vivid minimalist, ruralist and experimentalist, his selected poems, The Threadbare Coat (2020), is also published by Carcanet.
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A Poetry Book Society Spring Recommendation 2024 'The days have no names. The day they count the dead, the day they closed the doors, turned off the lights. We're still here in the silence, hearing tree-talk, the wind's secrets, the company of birds.' ('The Year of the Dead') The poems in Gillian Clarke's The Silence begin during lockdown, to whose silences Clarke listens so attentively that other voices emerge. As the book progresses, that silence deepens, in the poems about her mother and childhood, about the Great War and its aftermaths, and in her continuing attention to Welsh places and names, and the rituals which make that world come in to focus. In these scrupulous, musical poems, Clarke finds consolation in how silence makes room for memory and for the company of the animal- and bird-life which surrounds us. These poems, compulsively returning to key images and formative moments, echo and bring back other ways of living to the book's present moment.
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Eccolo / Hal Coase. - [miejsce nieznane] : Carcanet Poetry : Legimi, 2025.
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'If difference, then resistance.' Hal Coase has a gift for catching the rhythms of speech and exchange, and an eye for a telling image. His book's Italian title, Eccolo, meaning 'Here he is', or 'Here it is', captures his work's immediacy, and the poems' revelatory quality. These are poems and sequences which relish the ways in which we (try to) communicate and know one another, emulating the techniques and effect of some of the mid-century New York School and Roman poets he admires. Coase's writing – as playwright, translator, critic and poet – aspires to be both beautiful and conscientious. Eccolo: Poems is an auspicious debut.
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Shortlisted for the Forward (Jerwood) Prize for Best First Collection 2025 A Poetry Book Society Commendation 'How the noise in my head grows and grows, splinters into phantoms and shapes, graceless muses for her cot-mobile. How I terror.' Moving from colonial to post-colonial St Lucia, this debut collection brings to light the inheritances of four generations of women, developing monologues, lyrics and narrative poems which enable us to see how past dysfunction, tyranny and terror structure the shapes of women's lives, and what they hand down to one another. Uneasy inheritances are just the starting point for this debut's remarkable meditations: Should the stories of the past be told? Do they bring redemption or ruin? What are the costs of saying what happened? Beguiling and cathartic, Catherine-Esther Cowie's powerful, formally inventive poems reckon with the past even as they elegise and celebrate her subjects.
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Sidetracks / Bei Dao. - [miejsce nieznane] : Carcanet Poetry : Legimi, 2024.
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Longlisted for the Griffin Poetry Prize 2025 A Time Book of the Year 2024 A Financial Times Poetry Book of the Year 2024 Sidetracks, Bei Dao's first new collection in fifteen years, is also his first long poem and undoubtedly his magnum opus – the artistic culmination of a lifetime devoted to the renewal and reinvention of language. 'As a poet, I am always lost,' he once declared. Opening Sidetracks with a prologue of heavenly questions and following on with thirty-four cantos, the poem travels forward and backward along the divergent paths of the poet's wandering life. From his time as a Young Pioneer in Beijing, the poem roves through the years of exile living in six countries, back to the rural construction site where he worked during the Cultural Revolution, to the 'sunshine tablecloth' in his kitchen in Davis, California, and his emotional visit home after a thirteen-year separation ('the mother tongue has deepened my foreignness'). The various currents of our times rush into his lifelines, reconfigured through the 'vortex of experience' and the poet's encounters with friends, strangers and with other artists living and dead. He moves from place to place unable to return home. As the poet Michael Palmer noted: 'Bei Dao's work, in its rapid transitions, abrupt juxtapositions and frequent recurrence to open syntax evokes the un-speakability of the exile's condition. It is a poetry of explosive convergences, of submersions and unfixed boundaries, "amid languages".'
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Winner of the Anglo-Hellenic League Runciman Award 2025 'It began with the sun appearing over the plane wing supernatural orange but no light' The Strongbox opens with the abduction of a woman to a foreign land and ends with the Rape of Europa. Drawing in elements of Greek mythology, epic literature and recent history, this protean work gives shape to a cast of characters both ancient and modern, as they flit in and out of tales, their voices overlapping and interacting. An unnamed girl is persuaded to leave behind her country and her childhood and travel to a warzone. Helen of Sparta, already trapped behind the walls of Ilium, is plagued by dreams about the coming conflict. Gods continue their manipulations, while mortals persist in defying the will of their gods. Through a series of interconnected scenes and dialogues this singular work traces the role of myth in shaping our accounts of both history and contemporary events.
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'Everything is like life' — Mr Omer, David Copperfield This epigraph hovers over The Complete Works as it does over all the astonishing experimental work of the New Zealand poet John Gallas. And by 'everything', he means everything. This collection has no Great Purpose, apart from exploring and expanding upon the contradictory Meanings of Life. In a pyrotechnic display of thirty-one-syllable sparkles, set off by accident and protracted by design, it lights up any corner of things done, thought, felt, seen, suffered and enjoyed. It is contagious: readers begin tankaing as soon as they close the book. A walk in the country will never be the same. Here the writer, barely in control, stands back at a safe distance and watches, mostly with a smile. Here, the reader is the quarry. Contradictions abound, ideas morph, preferences and amusements change – no thoughtful guide is available, but none is needed: crazy and merry variety make this collection amenable to all, especially when all have not quite made up their minds about what on earth is going on. Warning: there are love poems lurking here.
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Fresh Air is an exhilarating, freewheeling ride through landscapes and languages. The poems, all written on the move (tramping the Gobi desert, cycling in Irish drizzle, paddling in Tonga) have the fizz of travellers' tales, the enchantment and the melancholy of the open road. The Story of Molecule tells the tale of Molloy Gillies ( Molecule'), a semi-detached twelve-year-old who one night takes his bike from the shed and pedals off to escape Evolution. In Gallas's comical, heartbreaking sonnet-picaresque, Molecule encounters dangers, kindness, police cars and mauri on the roads of the South Island, while his father, his aunt, a bathroom fitter and a police chief wonder what life, and freedom, are all about.
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Longlisted for the Laurel Prize 2024 A Poetry Book Society Spring Recommendation 2024 A The Times Book of the Year 2024 'Trees crawling with babies, babies darting through the sky or buoyed by thermal vents, babies painted with false eyes' ('Fable') In Isabel Galleymore's second collection, the adorable other is not just an imagined future child, but also a tree frog, a weather-worn statue and often the speaker herself, who dreams of quitting adulthood and an endangered world. 'Mother Earth' is less an entity to be revered than a command to care-giving. Lyrics and syllabically-constrained fables examine the play and power involved in creating new life, whether biologically or via cartoonists' animation. Galleymore hones in on cuteness and its relationships to hyper-capitalism and environmental crisis to produce a deliberately queasy ecopoetics. Animal extinctions are likened to failed businesses and sainthood is granted to a dubious character named Michael Mouse. Studies of wild creatures join those of pets, pot plants and animal videos: here is a new nature – one shaped by the extremes of our contemporary desires.
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Latch / Rebecca Goss. - [miejsce nieznane] : Carcanet Poetry : Legimi, 2023.
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Longlisted for the New Angle Prize for Literature 2025 A London Review Bookshop Book of the Year Rebecca Goss' fourth and most ambitious collection, Latch, is a study in the act of returning. It is about reconnecting to a place, Suffolk, and understanding what it once held, and what it now holds for a woman and her family. These poems unearth the deep, lasting attachments people have with the East Anglian countryside, gathering voices of labour, love, and loss with compelling particularity. The book is various, unpredictable: memory and magic interweave, secrets tangle with myth. As in her earlier books, Goss again draws on her distinctive ability to plough difficult, emotional terrain. Here is an anatomy of marriage, her parents' and her own, while the natural world becomes an arena for the emotional push and pull that exists between mothers and daughters. The return to a childhood home recalls young siblings retreating into nature as they steer the adult lives that disintegrate around them. Readers will find themselves beckoned to barns, fields, weirs, to experience both refuge and disturbance: we are shown a county's stars, and why a poet needed to return to live under them.
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Oli Hazzard's third collection emerges from the daily disarray of care and work, nature and technology. Its ambitious, formally various poems extract 'the ore / from boredom', as memory—personal, familial, social, historical—and the collective memory of poetry itself are wrenched out of shape by dramatic disruptions in rhythm, space and scale. The sadness and pain of forgetting is here too, alongside its unexpected forms of potential. The title, borrowed from the Lutheran hymn that inspired a Bach cantata, catches the book's dreamy, kaleidoscopic, cross-temporal dialogues. Through satirical, allusive, tender, hopeful poems, Sleepers Awake makes spaces for intimacy with the reader, arguing 'through an off-key melody / for the jovial texture of batshit relations, for the pleasure of live-drawing in sceptical company'.
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A Poetry Book Society Recommendation Spring 2025 Dane Holt's subject is often the aftermath of tragedy – ecological, personal or social – but these poems grieve in surprising ways. Deflection, displacement and refracted voices combine to animate a world of brilliantly realised situations. And Holt's characters, though always articulate, do not precisely comprehend their own relation to what they inherit. Compelling, funny, endlessly inventive, this bold debut collection explores the formation and disillusion of masculinity and community, exposing just how tender and brittle these constructs are.
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