Bücher veröffentlicht von Shearsman Books

A guidebook to Lisbon for English-speaking visitors written by the author whose typescript of the book was discovered amongst his papers after his death.

I've played, watched and loved football all my life. So I thought I'd write about it. My original intention was to write a poetic history of football, from the creation to the present day. The poems here are those of the original twenty that made it through the selection process and got into the first eleven. (Steve Ely)

This book contains 162 poems: the 154 canonical Collected Poems, presented by year and within each year's order of composition and/or first printing, plus seven of the Uncollected Poems interspersed chronologically among them. Only one of his rejected, early poems has been included, 'Ode and Elegy of the Street,' used here as a kind of overture.

Aonghas MacNeacail (1942-2022) was a major Scottish writer from Skye. He composed poetry, songs, journalism, scripts, librettos and translations. Among Gaelic-speakers he was known as Aonghas Dubh - Black Angus. Among his many accolades, he won the 1997 Stakis prize for Scottish Writer of the Year, and also received the Saltire Society's Premiere Award for contribution to the arts in 2005. His New & Selected Poems, Laughing at the Clock / Déanamh Gáire Ris A' Chloc, was published by Polygon in 2012.Aonghas grew up in a croft in Uig, on Skye. His first encounter with the English language was at school: while Aonghas spoke Gaelic at home, English was his language of education, and the first language that he wrote poetry in. While studying at Glasgow he became part of Philip Hobsbaum's famous Glasgow Group of creative writers, alongside Tom Leonard, Liz Lochhead, James Kelman and Alasdair Gray. He became involved with the Poetry Society while working as a housing officer in London: he later became the writer in residence at Sabhal Mòr Ostaig, the Gaelic college on Skye, and this reinvigorated his desire to write in Gaelic also. Latterly Aonghas became famous as a Gaelic-language writer, though in fact he composed work in all three native languages of Scotland. He was a founding member of the Scottish Poetry Library.

Toby Olson began writing poetry while in high school and he continued writing it while in the U.S. Navy, and later as a student at Occidental College in Los Angeles. He received a Master's Degree at Long Island University in New York, after which he taught Creative Writing at Temple University in Philadelphia. His first novel was The Life of Jesus, and this was followed by eleven books of fiction and many books of poetry. He considers himself a poet who also writes fiction, and now, in his mid-eighties, he continues in the writing of both arts.The first books included in this volume were published by Walter Hamady's Perishable Press, and these were followed by books issued by Karl Young's Membrane Press, Barlenmir House, Doctor Generosity's Press, Landlocked Press, Permanent Press, and New Directions. The period covered is 1969-1984.

Toby Olson began writing poetry while in high school and he continued writing it while in the U.S. Navy, and later as a student at Occidental College in Los Angeles. He received a Master's Degree at Long Island University in New York, after which he taught Creative Writing at Temple University in Philadelphia. His first novel was The Life of Jesus, and this was followed by eleven books of fiction and many books of poetry. He considers himself a poet who also writes fiction, and now, in his mid-eighties, he continues in the writing of both arts. Though there were poems written in the years between 1983 and 94, most of his efforts in those eleven years were spent writing fiction. Four novels were published in that time, and come 1994 he found he had enough poems for a book, Unfinished Building, and while he continued with fiction, he also found he was writing poetry, and since then he has managed to work at both arts. This volume, including the aforementioned book, contains the collections Human Nature (New Directions), Darklight and Death Sentences (both from Shearman Books), and See / Saw, published here for the first time.

Petra White is a distinctive voice in Australian poetry. That Galloping Horse is her sixth collection, and the first to introduce her to UK readers. Written while living in Melbourne, London and Berlin between 2017 and 2023, this new collection includes 13 elegies that mediate a spiritual anguish through a delight in language and the physical world. White's characteristic, often dark playfulness is also abundant in this collection, with short mysterious lyrics that build layers of irony, and raw narratives that traverse the Nullarbor Highway and the atomic cloud of Maralinga. In its flexible and changeable styles, That Galloping Horse catches many thematic concerns, including proximity to the Ukraine War, domestic life in the reality of planetary demise, the strangeness of post-pandemic Berlin, modern work, marriage and the possibilities of familial love.Comments on previous collections:"This is a very accomplished and very complex first book by a poet who can be said to be, already, of considerable importance." -Martin Duwell, Australian Poetry Review, on The Incoming Tide"Among our poets, I was moved by Petra White with the intense inwardness attained in her near-collected A Hunger." -Chris Wallace-Crabbe, The Sydney Morning Herald, Books of the Year 2015"'How the Temple was Built' is not an easy poem to describe. Suffice to say that it has something in common with Arthur Boyd's biblical paintings and, arguably, with Ted Hughes's book-length poem Crow... it is satisfyingly physical and meta-physical at the same time." -Geoff Page, The Australian, on Reading for a Quiet Morning "Petra White's 'Ode on the End' is hectically imperilled - 'He gives/you the necks of your enemies/(fear must have foes)./He draws up a battle/where perhaps there was only a soul'. Her work is often Rilkean internal interrogation, with emphatic alliteration, but there are also finely executed portraits such as 'Older Sister' - 'chore-hungry and chore-fed ... Her fingers fly, her eyes are stone'. -Gig Ryan, The Sydney Morning Herald, on Thirty Australian Poets

"I go to Ian Seed's poetry whenever I need reminding of the possibilities or a good slap in the inspiration. A master of the prose poem and the unexpected lyric. There's a beautiful, painterly logic to these compositions and a perfect balance between the elevating magical and the crushingly disappointing. His narrators speak for all of us, at work, in transit, in family, memory, or continental cities. Grief-stricken, erotic, silly, embarrassed or baffled, but somehow determined to live 'joyously and seriously' against the inexplicable, the obligatory and the mundane at whatever damn cost. Night Window is shot through with melancholy, wit, absences and bookshops - it deserves legions of readers." -Luke Kennard "Exquisitely voiced and deeply beguiling, Night Window explores impermanence in uncanny, liminal and provocative poems. Often set in the transitory spaces of trains, buses, cafés, markets and trattorie, narrators confront their nostalgia and self-imposed exile in a series of threshold moments foregrounding 'obsession', 'unspeakable desire', erotic remembrance and quotidian encounters. The motif of fenestration heightens the fusion between neo-Gothic outsiderness and modernity's transcendent flaneurism in poems which are often mordantly humorous and sardonic. In self-reflexive, Calvino-esque moments, Seed reveals, 'I have to find a way / to free the text to yield its story' and reminds us, 'It takes a stranger to see the beauty'. Gertrude Stein once said Max Jacob had a 'poet soul'. A translator of Jacob's poetry, Ian Seed in Night Window, uncovers his own poet's soul and cements his reputation as one of the finest contemporary proponents of the prose poem form." -Cassandra Atherton Comments on previous books: "As a collection, The Underground Cabaret is more precise, more tightly structured than even its predecessors (which were themselves masterpieces of concision). It is compellingly readable, funny and at times filled with an eerie menace; all of which should appeal to the general reader. If there were any justice, it would be a bestseller." -Joe Darlington, The Manchester Review of Books. "In general, I tend to think of surrealist poetry as being grounded in a kind of contorted analogy, incongruent images welded together to create a kind of irrational logic, but Seed more or less eschews analogy. He shows us the world as it is, but it's not quite this world. All the elements seem quite familiar: parents, houses, streets, hotels, tourist attractions, partners and ex-partners, workplaces. However, they act and interact in ways that are disconcerting, just slightly off centre [...] The great strength of Seed's writing is that its apparent simplicity can encompass such multiple dimensions of reading." -Billy Mills, Elliptical Movements. "The Underground Cabaret is a series of sophisticated prose poems. The poems often give a surreal, dream-like picture of small incidents in charged, mysterious contexts. They are written with an easy elegance which underpins the surrealism and draws the reader into a world which feels real and whole, somehow. One of the blurb comments suggests that these pieces are actually about 'what it means to be human', and there is a lot of truth in that. In part, that sense is a result of Seed's skill as a writer, in part too, it is the element of embedded realism which gives the pieces their foundation; an air of normalcy that runs through even the 'weirdest' of the pieces." -Ian Pople, PN Review.

In his fourth collection from Shearsman Books, Alasdair Paterson ranges as widely as ever - from the bewilderments of a Scottish childhood to the mixed messages of later life, from gnarly nature notes to an A-Z of lines salvaged from lost Russian novels. The spirit of Mercury - bringer of messages, patron of tricksters, keeper and crosser of boundaries - hovers invisibly and a tad unreliably overhead.Critical responses - "You can take the boy out of Leith but seemingly you can't stop him writing poems about it. Take a telling, pal!" -Leith Literary Gazette"In this latest brazen provocation, the great Russian literary tradition is alphabetically disrespected. Needless to say, there will be consequences..." -Kamchatka Hints and Tips"Here's a city boy's take on the glories of the natural world. On the evidence of this, we have to ask: Mr Paterson, did you ever stand in a field of cows with the wind in your face?" -Forfar Farmer

On Light Sources and Landing Rights: "Decidedly prolific bite-sized, brief, crisply restrained and profoundly philosophical."¿The Chicago Review¿"I was moved, deeply moved by David Jaffin's collections of verse, by their sensitivity, their loveliness, their honesty."¿Chaim Potok"David Jaffin's work is consistently refreshing and innovating, his is a most welcome contemporary poetic voice. And his keen, sensitive observations make for precise, sensuous and elegant poetry. It is thus not surprising that he is also a connoisseur of Franz Joseph Haydn's chamber music. I warmly recommend David Jaffin's books." -Wolfgang Binder, University Erlangen-Nürnberg, Germany"Everything about these books underlines the classical nature of his art ... Jaffin's work, it seems to me, represents the area from which any poetic revival will have to start ... Jaffin's language is highly abstracted, sharp and original. This is not easy poetry: it is the product of American energy and a Judaic sensibility, it is intelligent and demanding." -The late Michael Butler, University of Birmingham, England"Dream Flow is a substantial collection of David Jaffin's poetry. At 311 pages, it's an inexhaustible well in which one can gaze and dip at one's leisure, bringing reflective waters to the lips. To say these poems reveal the extent of the intricate word-play and the shimmer of meanings. And the more one sees and says the more the subtle gifts keep coming." -Jessie Glass, Mekai University, Tokyo, Japan"On Dream Flow David Jaffin is a prolific American poet whose work uses the minimum possible means of expression in order to reach for essentials in his subject matter ... The limpid texture of his work resists quotation or excerption; his deceptively simple surfaces use the tensions inherent in the vocabulary to open up new horizons. Delicate creations, his poems tend to be wonderfully light lyrics."¿-www.bogpriser.dk, Denmark

The Chilean poet Vicente Huidobro (1893-1948) is one of the most important figures in 20th-century Hispanic poetry and, with César Vallejo, one of the pioneering avant-gardists in Spanish. Originally from an upper-class Santiago family, Huidobro was fortunate to have the means to support himself and his family while he found his artistic way. After an early phase writing in a quasi-symbolist style in his native city, he moved to Paris and threw himself into the local artistic milieu with a passion, quickly becoming a notable figure, publishing a large number of books in the period 1917-1925. Influenced initially by Apollinaire, Huidobro quickly befriended both forward-looking French writers such as Reverdy, Cocteau and Radiguet, and the Spanish expatriate artists, including Picasso and Juan Gris. He reached his poetic maturity in 1931 with the publication of two master-pieces: the long poem, Altazor, and the book-length prose-poem Temblor de cielo (Skyquake). Two further collections would follow during his lifetime, both published in Santiago in 1941. While he also published successful novels and plays, it is for his poetry that he is best remembered today. Ver y palpar is one of the two volumes published in 1941, its sister being El ciudadano de olvido (Citizen of Oblivion), released in this series in 2021. The two books contain some the author's finest poetry but are not generally part of the debate on Huidobro's work. These translations seek to correct that error.

Focusing on experiences of dislocation and on the importance of image and translation, That Nostalgia records John Mateer's travels and his witnessing of the inequities and pleasures of life in many parts of the world, from China and Japan, South-East Asia and Türkiye, through Portugal, and then, further west, to Mexico and the USA. Central to his poetics is an awareness of the artifice of the Imperial, or, as he coins it, "Empire, that Nostalgia". As the first European power to lose its global empire, Portugal plays a special role in Mateer's imagination; with its continuing connections to Asia and Africa, and its own cosmopolitan life led among the ruins. Having spent his youth in South Africa, Mateer's sensitivity to politics in all its forms allows him to make of that nostalgia various kinds of irony through which he can carefully observe the present world. Throughout the work he is attentive, not only to language itself, but also to its internalized practices, cultural and spiritual. That Nostalgia is more personal than Unbelievers, or 'The Moor' and more historically engaged than João: (sonnets). Its invitation to readers is to have them question their own subjectivity, their own unknowing, to reconsider the elusiveness of deep experience in a vast, often chaotic, contemporary world. The book collects poems written between 1995 and 2016, uniting work from publications that have appeared in Australia, Portugal, Macau, Sumatra, Japan, South Africa and the UK, most now out-of-print and rare, and it does not include work from the author's other Shearsman titles.

"These miraculous poems of everyday matter magnified by forty reveal our world in all its pristine glory - reminiscent of Pablo Neruda's household odes, but stranger. Her sketches of waterfalls are extraordinary, as if we are witnessing the birth of water and every inch hallucinatory. Her magnifying eye probes the roots of matter and spirit, where they intertwine and dance with light. Tsvetanka Elenkova has a mystic's eye, an inventive vision honed with surgical precision." -Pascale Petit "In Magnification Forty, Tsvetanka Elenkova turns her piercing poetic intelligence upon the small things of the world. She lifts them up to us in all their revelatory and spiritual power. Elenkova is a visionary, who makes quietness speak and who reminds us that the miracle of embodiment is realised not only in the exceptional but in what's humble and quotidian. This deeply mindful book is a call for us to pay attention to what we experience. It's also a masterclass in the lucid and economical poetics that have made Elenkova into a leading European poet." -Fiona Sampson

Satyr is Huidobro's last novel, published in Santiago in 1939, at a time when little of his work was in print in his native land. While that situation would be rectified two years later, with the release of two major poetry collections, this volume is his final work in prose, and one that has mostly escaped attention since. Closer examination of the text reveals however that it contains a number of the author's literary, social, political and philosophical preoccupations, with many themes from his poems, essays, and manifestos re-occurring in the book, the protagonist of which, Bernardo Saguen, may be regarded on one level as a failed artist. This would-be writer is one that goes to the bad, and whose mental collapse - he seems to be suffering from paranoid schizophrenia - and moral disintegration seem to parallel the kind of disintegration seen in some of the author's later poems. Written at a time when Huidobro was unsure of his literary position in Chile, the book is much concerned with the idea of poetic creation, while also worrying at the concept of reality, whether artistic creations are part of reality itself, and whether the artist himself is part of reality. As the novel proceeds, Saguen finds himself increasingly untethered from that reality as he has a nervous breakdown, only for his return to a measure of sanity and composure to coincide with horror, and then total mental collapse. The reader's sympathies lie with him at the outset, but we have only his word for the events that transpire; his unreliability as a narrator becomes ever more obvious, and clues begin to mount. Have we, as readers been deceived by a monstrous and amoral egoist, or have we really observed a total mental breakdown, as it was happening? Nothing is clear at the end, apart from the horror.

"Thurston's poems always danced, as the early writings here demonstrate, in line and spacing, long before dance as a practice became his poetic focus and his ethical metaphor for other modes of action and introspection. They always measured a world to be moved into, fine lines across fine distinctions. His texts become cues for performance, in performance, but just as important is the insistent voice of the poem as it becomes increasingly the voice of the poet: restless, relentless, carrying us with it. This is all for us: 'in dancing your own rite you don't/ do it for yourself.' This is crystallized in the culminating triumph of the lockdown sonnet sequence, 'A Hard Grief'; it reaches out from our shared resignation and hope. We're all 'searching/ for the shapes that shadowed the meaning/ until the flow showed up', and Thurston is our invaluable lead." -Robert Sheppard'Lyrical meditations on selfhood which are powerful and well-crafted' -Luke Kennard on Hold'A poetic inquiry that is ethical, cautious and defiant at once ... a beautiful, unique book' -Jennifer Moxley on Internal Rhyme'Alive with pace, dance and wordplay' -Sarah James on Of Being Circular 'Deeply human and affecting ... reminds us of what poetry is capable of when put under pressure' -Ian Davidson on Reverses Heart's Reassembly'Lines of grace, rawness and wondering; this is poetry and reflection rich with exploration' -Sarah Kelly on Poems for the Dance'Metaphysical dialogues between the dancing and linguistic self' -Amy McCauley on We Must Betray Our Potential'A distinctive form of synaesthetic experimentation' -Hazel Smith on Phrases towards a kinepoetics

When I approach experimental poetry, particularly when it's related to images - the ekphrastic relationship - I ask myself, does it work? By that I mean, does it carry off the symbiotic closeness, does it make me feel there's a strong reason why the two art forms feed off each other? In the case of Lucy Hamilton's Viewer / Viewed, the answer is a resounding Yes. First, the images: photomontages of close family members are transposed with each other, making one instead of two separate photos. The photomontage method is in a tradition pioneered by the German photo-montage artist Hannah Höch (1889-1978) and later by the contemporary British conceptual artist John Stezaker's Marriage (Film Portrait Collage) series, though Hamilton's are not so surreal. Her photomontages led her, after a fallow period, to begin writing poems to accord proportion notmeaning not even aesthetic value | to invite the tugof juxtaposition |"The tug of juxtaposition": the inspiration for the creation of image and poem in this work, enabling her to resurrect memories of those she has grown up with and loved, the places she has travelled to, the objects holding significant meaning for her. The poems are composed in couplets and consist of thought and image units, decisions of what to juxtapose, quotations, and pauses separated by vertical lines or lines that begin with capital letters. The beauty of this process - for this work is, among other things, an illustration of a poetic process - results in the poems' extraordinary accessibility and clarity. The back-and-forthness of image and poem, each illuminating the other, is exactly what a successful ekphrastic relationship should display, and what makes this collection ultimately so original and rewarding. -Robert Vas Dias

The second double issue of Shearsman magazine for 2023 features poetry by Serena Alagappan, Wendy Allen, Mark Byers, Elizabeth Chadwick Pywell, Peter Dukes, David Dumouriez, Marie-Louise Eyres, Dominic Fisher, Mark Goodwin, Amlanjyoti Goswami, John Greening, Finn Haunch, Neal Hoskins, Fiona Larkin, Peter Larkin, Rupert M Loydell, Valeria Melchioretto, Eliza O'Toole, John Phillips, Amber Rollinson, D'or Seifer, Natalie Shaw, Robert Sheppard and Judi Sutherland; plus translations of Kjell Espmark (by Robin Fulton Macpherson), Attila József (by Agnes Lehóczky & Adam Piette), Lutz Seiler (by Stefan Tobler), and Roelof Ten Napel (by Judith Wilkinson).

"Whether Alice Kavounas is walking the bounds of her home in Cornwall, speaking across time to her brother, or wryly contemplating two funerary caskets, one containing a dog's ashes, the other those of a family member, her poems are distinguished by clarity of observation, by wit, and by individual grace. We go from Cornwall to San Francisco to New York; to Minsk, London, and Palm Springs; always her voice is measured, searching. She is interested in scale; in minutiae, as in her beautiful study of a painting of a finch, or in finding herself a holidaying bystander in 1968, witnessing tanks enroute to the invasion of former Czechoslovakia. This acutely-assembled collection is rich in such telling intersections, and her narrative energy is flawless. She follows threads of thought and memory and imagination with exact insight and compassion. She reminds us that unless we give honour and attention to the past, we are lost. Her poems are rich in those qualities that we require of poems, so that we may better comprehend and celebrate our human lives." -Penelope Shuttle

Sleep guardians, unstep yourselves. Turn towards the outside. Recall his speaking look, the only sound in a city of whisperers where hurt is cradled in the palm of a hand. Cuts traced along ink lines, words like milk and pleasure and pain turned inside out and shaken from these pages. Rest your head upon that bosom. You are marooned on a pale island, lapped by gentle voices, careful footsteps, confidences. Pine Island is an experimental memoir written in the form of a series of letters to an unknown recipient. The book chronicles a year in the life of the author as she navigates family illness, bereavement and motherhood while honouring and cultivating the poetic life she has created. Weaving family interactions and personal reflections with observations of the natural world and accounts of the weather, the book creates an intimate space in which the reader becomes a participant in an evolving present."Lucy Sheerman's elegantly filigreed poems act as open letters in complete sentences and somehow dwell in a completely emotional, existential space between a kind of fairytale allegorical world and one that's personal and thoroughly modern. Whether 'Dearest' is lover, friend, child or some other kind of intimate other, these poems carve out a strong craving for saying the things one usually can't-except by way of poetry." -Lee Ann Brown

One evening in 1961, in the Greyhound pub in Carshalton, Surrey, 20-year-old Chris Torrance - solicitor's clerk with novelistic ambitions - encountered a volatile Mob of nascent artists, writers and musicians. For Torrance, this was "the most important day of my life". Dazzled, he was soon joining in their activities: wild weekends in the country, his first scary public readings, and, from 1963, co-editing the poetry and jazz magazine Origins/Diversions. In literary terms, Torrance's greatest influence from the group was Bill Wyatt, who introduced him to "useful short forms" like haiku, and to William Carlos Williams' Paterson. Wyatt, later a prolific poet, translator, naturalist, and the first Zen monk ordained in Britain, remained a life-long friend and ally. Origins/Diversions connected Torrance to other 'underground' writers and publishers, including Tina Morris and Dave Cunliffe in Blackburn, and, through them, Lee Harwood in London. In June 1964 Harwood came to Carshalton for a walk around Torrance's patch. Reciprocal visits followed, with Torrance cycling to the East End, where Harwood was writing his long poem Cable Street. They were very different people, Torrance focussed on his local area and his local friends, Harwood a cool, elegant but friendly cosmopolitan, feeding Torrance the exciting new writing via his job at Better Books in Charing Cross Road. Torrance now began finding his own voice as a poet, and, through Harwood's encouragement, placed work in the Cambridge magazine, The English Intelligencer. One of its editors, Andrew Crozier, published Torrance's first two books. In the spring of 1965 Torrance gave up his 7 year career in solicitors' offices, and joined the local Parks Department as a labourer. As the title Green Orange Purple Red implies, he wanted a more sensual take on the world via his writing - a Keatsian ambition. About then he found a second-hand copy of The New American Poetry, and embarked on a lifelong 'love affair' with those writers and that energy. In particular, the enormous presence of Charles Olson, seemed to confirm that - in terms of big ambition and local detail - Torrance was on the right track with his writing. Validation came in July 1966, with 'The Carshalton Steam Laundry Vision'. Torrance was cutting the grass outside the Laundry, when his vocation was revealed to him: 'I'm going to be a poet'. It wasn't a 'vision'; it was a powerful voice that had to be obeyed ("I accepted it completely"). As The Voice diminished into the clatter of machinery and the chatter of the laundry girls, the path ahead lay clear. In the autumn of 1967, Torrance and his partner Val settled in Bristol, with Torrance working as a Parks Dept. labourer again. His near-3 year stay in Bristol was a transitional time, with a tendency in his writing towards psychedelia and a broader spirituality becoming more evident. In June 1970, Torrance moved to a cottage in pastoral/industrial South Wales, to 'chew the lotus in peace', as John Wieners has it. He was to stay there for 50 years, increasing the range and depth of his poetic vision, but much of the foundations and shape of his future writing are here in this early work: inspiration from his locality, from geology up; the prosodic links between music and words; a positive faith that anyone - taking himself as the model - could and should be creative; and, importantly, the idea of larger cycles of writing - as in The Carshalton Poems - culminating in his life's major work, The Magic Door.-Phil Maillard

Adverse Winds (Vientos contrarios) is a collection of essays, aphorisms, and observations, published by Huidobro in Santiago in 1926, after many years in Europe.At this remove it is perhaps difficult to grasp that in 1926, Vicente Huidobro (1893-1948), who had cut something of a swathe through literary Paris - albeit not quite as thorough a swathe as he would sometimes have us believe - was almost unknown back home in Santiago. He had published nothing there apart from self-financed volumes of juvenilia before his departure for Paris in 1916, and his new avant-garde work from the Paris period was mostly unknown and mostly not very welcome in backward Santiago.Needing to attract some attention upon his return, Huidobro assembled this collection of statements, aphorisms and cod-memoirs as an introduction to the serious new self that he wished to present to those who might have heard a few rumours of his successes abroad, but would be puzzled by having seen nothing of his writing. The soon-to-be broken marriage and the surrounding scandal were to ruin his attempts in this direction, and caused his flight back to Europe, this time alone and pursued by death-threats from irate relatives of his new paramour. Looked at objectively, the book is a grab-bag, including some fascinating and notorious statements (the poet is a little god; I will be the premier poet of my time, etc.), alongside a number of interesting sideswipes at writers he wished to denigrate. His excursions - daring for their time - into matters of love, sex and infidelity in the book must have struck many after his hurried departure as being, at the very least, misguided. The heartfelt tribute to Teresa Wilms, a great beauty, and a talented prose-writer, dead by her own hand at 28, is undermined somewhat by that fact Vicente had had an affair with her in 1916 and that just about everyone in the tight-knit aristocratic circles in which he moved would have known this. One imagines that his now-estranged wife would have been doubly unamused.The book should be seen as an adjunct to the previous year's collection of Manifestos (also available in this series), and as another staging post on the poet's path towards a position of mastery.

"Swensen is psychopomp back to an orphic sense of voice, one the critic Elizabeth Sewell, in The Orphic Voice, describes as ...a kind of manual of language and mind as a dance of relations, moving and not static, which may help us forward. That could serve as worthy blurb for And And And. Swensen is returning us to a kind of first poetics, a prima poieia, in which word and world are co-creative and mutually flourishing. Here language doesn't define, doesn't categorize, doesn't lay claim to fact or knowledge. What paltry things such certainties are against the ongoing mystery of the vital energy stitching one life to every other..." -Dan Beachy-Quick

These pieces are selected from a steady series of essays and reviews I found myself publishing in the late aughts of the still early century. It was a period in which I was translating poetry, not so much as a specific translation "project," but as an extension of writing poetry. And as an interactive means of reading poetry. My impetus for writing prose on translated poetry was explorative, not didactic. During that period, I eventually published three translation collections from three very different cultural periods. In 2012, the 91 extant poems of Luxorius, a sixth century C.E. Latin epigramist, writing in Vandal-occupied North Africa at the dawn of the Dark Ages. This segued into a multi-year delve into Martial, and culminated in a good-sized, 2018 selection. And, concurrently, beginning with a chapbook in the late '70s, I'd been translating Rilke, finally publishing an extensive selection in 2020. One can happily and productively write poetry without too much theorizing. In fact, at least in our era's thinking, the best poems spring from need not theory. Even successful formalists utilize form as vehicle, not inspiration. But when you find yourself wanting to translate poetry into poetry, you can also find yourself in an anarchic unmapped landscape, navigating a cliff's edge in the fog between languages. When translating established classics, "do no harm" isn't a concern. But "don't do anything stupid" is a prime directive. All other rules spring from that. The "translation police" exist, but they're not so much to be feared as one's internal gestapo. So, many of these pieces served as negotiations with myself for permission. Some make repeat visits to the poets above for multiple looks. But from somewhere over the years, Catullus also kept showing up. I welcomed and re-welcomed those visits. (Art Beck)

This new poetry is saturated in folklore and myth. The glass paintings are a distribution of cultured art motifs to rural households, patterns copied onto glass with feathers or brushes made of marten-hair. They are an expression of humility towards the illiterate. The idea of cultural difference being the effect of distribution technology was illustrated by the pedlars who carried the glass panes around the villages of central Europe. The interest in shopping follows a previous and prolonged interest in manufacturing and production, completing the sequence. Reminiscences of childhood and the wreck of the great High Street department stores around 2020 combine in a personal mythology of grand motifs and elaborate ruins. This volume is a new start after a long period of silence and begins with an inventory of concrete facts around the poet, in his home in Nottingham, close to where he grew up. One theme is defeaturing, the recreation of court and metropolitan art forms in a simpler manner. Radiant messages broken up by distance.Comments on On the Margins of Great Empires (2018):"For the last 30 years, Andrew Duncan has patiently traced alternative wavelengths, to and from the unevocable, irreconcilable and the impossible."-Kevin Nolan "Andrew Duncan [is] a writer whose poetry, criticism and magazine editing must make him one of the most vital and questing of today's authors." - David Hackbridge Johnson, The High Window"Andrew Duncan's selected poems from 1978 to 2003 [is] an excited, hugely wide-ranging poetry soaring from the star and jewel riches of the Asian margins down to the brick offices in which are fates are problematized. Quite cryptic but never shirking the open and articulate cry." -Peter Riley, Fortnightly Review

Félicien Rops (1833-1898) was a Belgian artist, primarily a print-maker. He was a friend of Baudelaire, Gautier, Mallarmé and Péladan. His work - symbolist and decadent in tone - retains its shock value over a century later. In a sequence of poems inspired by Rops' etchings and peppered with ill-translated fragments plundered from old exhibition catalogues, Hackbridge Johnson wrenches the daring reprobate into the 21st century where he is surely needed to puncture the hypocrisies of a discredited age.

Marking the 50th anniversary of the earliest poems brought together in this volume, we now offer a second edition of Gustaf Sobin's first collection, a book which has been hard to find, other than within the pages of his posthumous Collected Poems."Gustaf Sobin's poems are not, in any superficial sense, 'painterly', but there is about them that sense of the intangible which anyone who has done graphic work must have felt hovering about the image and its physical counterpart. They often seek to render this intangibility of a world not yet known at the moment it is seized upon by the forms of language. The forms of language are thus, for Sobin, a fundamental measure of human activity although his poems do not look at that activity within an immediately social context. Sobin's attitude to language and to the way it stylizes our world for us recalls the writings of Benjamin Lee Whorf on the spatial concepts of the Hopi Indians. And Sobin's world, like that of the Hopi, is basic, stripped, often sun-drenched, sometimes arid-and mysterious." -Charles Tomlinson

'The intersection of theology and poetry is a charged zone of encounter and, if I may say it, discipline. Yet there's a generosity and a lightness to Milbank's verse: a concinnity both within, and within, the now, the lyric moment of generous apprehension, which aligns these taut lyrics with the sensibility of Traherne. "Ripeness rustles," but it is brightness that reigns here, among "alien and yet familiar creatures," a jackdaw, an escaped jaguar in a wood, a white cat in autumn, "beech-mulch" that "sings silently." These radiant poems overflow with creation and gratitude.' -G.C. Waldrep

Comments on previous work by Peter Hughes:'a poet who stands at the very forefront of twenty-first-century lyricism' -Ian Brinton, P.N. Review 'Peter Hughes personalises and modernises the Romantic lyric mode of address, blending it into the stratum of practical everyday living with its hassles and clutter, and the conversational speaking voice. He plays with the inheritance of the European love poem as a renewal of it, sometimes seeming to undermine it and then folding it back into his purpose. This is a poet working very much in his own way, and breaking the rules of just about all current schools.' -Peter Riley'Peter Hughes has persevered in the face of everything that conspires to stop you doing it. This is now a measured poetry of the everyday, an intense clarity produced from a steady gaze and replete with respect for the otherness of people, place and things. It is immanent with the numinous which moves towards the surface and sometimes manifests itself in a startling cognition.' -John James'I turn the new page and am in bliss with the pertinence and grace of the living language.' -Kelvin Corcoran'Read it, in the expectation of any number of lyrical pleasures, for the ear, for the play of line against continuous movement, for its celebration of remembered pleasures, for its good will and for its wit. By this last, I mean a mind in evidence in the poems that can constantly surprise itself in the turns of speech, that can dance in the syllables and still have world and experience in its sights.' -John Hall

A Nowhere for Vallejo was first published in the UK 1972, and was a major staging post in the author's career, the penultimate volume to appear from a UK publisher before we issued the selected edition, Palenque, in the 1980s.The dramatic title sequence takes the form of an imaginary journey to the Inca empire, seen through the eyes of the first and last of the Inca emperors and of two great half-Inca writers, both of them exiles: Garcilaso de la Vega and César Vallejo. This sequence and 'Choices' were written in Guatemala during the summer of 1969 by Lake Atitlán where the author had carried out fieldwork as an anthropologist many years earlier. The book is completed by the 'October' sequence, which ends with the moving "in memoriam" poem 'Requiem pro duabus filiis Israel'.

In this book, eighteen authors from a dozen countries interpret Richard Berengarten's Changing (2016), a large-scale poetic mosaic written in honour of the I Ching, the first of the Confucian classics of ancient China.Changing is a work hewn out of the accrual of presence and a sagacious response to our anxious age. -MIKE BARRETT // Isn't this book's ultimate aim to contribute to a change in how we think ourselves and our world? -PAUL SCOTT DERRICK // Changing blazes a new path for cross-cultural dialogue between Eastern and Western poetry and poetics. -MING DONG GU // The tone is rich, mature, and generous, but also personal and personable. -ELEANOR GOODMAN // In Berengarten's words, we must plant our feet deeply and firmly in "this here now." -TZE-KI HON // A major contribution to modern English poetry -JEREMY HOOKER // An ongoing revolution occurring in the depth of one's heart in the reality of the present -SOPHIA KATZ // Every poem a microcosm -LUCAS KLEIN // A life-path book -HANK LAZER // A sustained outpouring of captured and contemplated moments. -OWEN LOWERY// A visionary poem and an ars poetica -RODERICK MAIN // Commonplace light becomes transformative, radiant, miraculous. -PASCHALIS NIKOLAOU // The Book of Changes continuously inspires fresh insights. Berengarten continues this great tradition. -GEOFFREY REDMOND // Patterned on the combined constancy and delicate fragility of the human heart. -HEYONG SHEN // Richard Berengarten is the latest in a long line of distinguished writers who have looked to the I Ching for creative sustenance. -RICHARD J. SMITH // It makes sense to read the Yijing-inspired poetry of Changing in the light of the Jewish prophetical tradition -RICO SNELLER // Steeped in the Chinese classic's wider, deeper and higher spheres of influence. -TAN CHEE LAY // A sound boat in which to cross the Great River called Change. -ALAN TRIST AND BOB DEVINE