Bücher veröffentlicht von Shearsman Books

One of 5 chapbooks published by Shearsman in the summer of 2012, this is a single long sequence of poems, which was later collected in the author's full-length volume, Endtimes, his seventh poetry collection.

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 publishing two full-sized collections and four chapbooks in 1917-18, and then a French-language selected poems in 1921. Influenced initially by Apollinaire, Huidobro befriended forward-looking French writers such as Reverdy, Cocteau and Radiguet, as well as the Spanish expatriate artists, including Picasso and Juan Gris.He was to reach his artistic maturity in 1931 with the publication of two masterpieces: the long poem, Altazor, and the book-length prose-poem Temblor de cielo (Skyquake). Two further original collections and an extensive Selected followed during his lifetime, all published in Santiago. While he also published successful novels and plays, it is for his poetry that he is best remembered today.Volodia Teitelboim's impressionistic biography of Huidobro was first published to coincide with the poet's centenary in 1993, and has the advantage of being written by someone who actually knew him, and many of the other significant figures in Chilean poetry of the 1930s and later. As the author relates in the course of the book, he started out as, and remained, a fan of the poet's work, but he is commendably clear about Huidobro's many personal faults - and about the causes of the breakdown in his own relationship with him.

Ulrike Draesner is recognised as one of Germany's most important living poets, as well as being an original and daring writer of fiction. Her poetic language, recorded where breath and script meet, can unsettle conventional reading modalities: its orthography refuses to capitalize; its punctuation - if the stops and starts may be called that - is rarely executed by comma or period; its sequentialities, shunning the comfort of bespoke narrative, undermining the reliability of marching lines and subaltern clauses, are born at the intersection of worldly impulse and bodily pulse, vulnerable to the loops of memory. Her writing favours an exchange with the reader that explores unfamiliar modes of encountering the world to form the sociable space of a poem. Her work is charged with a delicious, inquisitive restlessness. Visually acute, her poems are keen to discover, reflect on and body forth complex blendings of thought, sound, smell and image, delivering a revealing diffraction to the reader's ear.

The first volume of Frances Presley's Collected Poems, 1973 to 2004, provides an important overview of her earlier life and poetic development. She experiments with modern and postmodern poetry and prose, projects and collaborations, sometimes associated with the new British poetry. Her feminism and political commitment are sharply defined, alongside a growing concern for ecology. It includes The Sex of Art, Hula Hoop, Linocut and Somerset Letters, as well as her collaborations, with artist Irma Irsara, on women's clothing, Automatic Cross Stitch, and with poet Elizabeth James, Neitherthe One nor the Other. It supersedes and expands her selected poems, Paravane (2004) and Myne (2006).'Frances Presley is a splendid and authentic poet whose work shines with exact edge and luminous presence of what she notices and chooses to translate into language' -Kathleen Fraser'Frances Presley's writing engages with serious political concerns underscored with deeply personal experience. e world 'out there' of unrest, injustice, and conflict is not something to be compartmentalised but co-exists with the domestic on equal terms. A summer flower or childhood memory in Somerset blossoms next to the exploding horrors of Semtex. She is not a poet to shy away from life but pushes language into its face until it yelps'. -Geraldine Monk'Presley's poems are minesweepers working below the surface to explode the breezy assumptions of Thatcherist consumer capitalism, or to explore what has already caved in'. -Meredith Quatermain

The second volume of Frances Presley's Collected Poems, 2004 to 2020, brings together a distinctive body of work, representing a major achievement in modern and postmodern poetry and prose, projects and collaborations. Feminism and political commitment are still evident, but ecology and ecopoetics are foregrounded. It includes Stone Settings and Longstones which explores Neolithic stones on Exmoor, in collaboration with visual poet Tilla Brading; the playful An Alphabet for Alina, with artist Peterjon Skelt; as well Halse for Hazel, which received an Arts Council award; and the Ada Lovelace project, Ada Unseen. There is also a new sequence, Channels, on shorelines and parallel coasts. 'Welcome to this comprehensive, collected poems from one of our most impressive contemporary poets. Here we can trace how, from her earliest poems, with their intense and tense engagement with her modernist forbears, Frances Presley has maintained an uncompromising integrity and invention. Her use of the page as a space of experimentation and of language as a multiple-stranded thread of living letters and sounds is dazzling, and these volumes allow us to see the shifts in this practice over decades. Each collection has built on the last, yet remained open to the world as she sees it at the moment of writing, as she greets it with an eye and voice both tender and sardonic. We see this in the wit with which she incorporates diverse found materials into her work and in her engagement with her fellow poets and artists through allusion, conversation and collaboration. In these carefully woven webs, her sense of place and the politics of landscape and her astute feminism remain constant.' -Harriet Tarlo'As these volumes attest, Frances Presley's is the poetry of the artisan, authentic in the sharpest sense of the word: rare, inventive, its original beauties edged and tempered by the traditional skills in which they germinated. Nomadic in theme, sinewy of thought, filigree in habit, this oeuvre rummages with discriminating care among the cultural-linguistic currents and debris complicating the experiencing of place, distant or proximal, prehistoric or contemporary, empty or inhabited.' -Alice Entwhistle'Presley combines deliberate poetry and environmental engagement to compel us to think and act. She sews together language, time, and space; and shows us that the creative act itself inspires a vivid ecopoetics of the imagination.' -Chad Weidner