Michael Symmons Roberts’s fourth book of poetry, Corpus, was the winner of the 2004 Whitbread Poetry Award, and was shortlisted for the T. S. Eliot Prize, the Forward Prize, and the Griffin International Prize. His sixth collection, Drysalter, was the winner of both the Forward Prize and the Costa Poetry Prize in 2013. He collaborated with Paul Farley on Edgelands (Cape/Vintage) and will do so again in The Deaths of the Poets (Cape, 2017). He has also worked many times with the composer James MacMillan. He has published two novels, and is Professor of Poetry at Manchester Metropolitan University.

Michael Symmons Roberts

PublicationStatus

Brand

Format

AgeRange

Series

Imprint

CategoryLabel

Michael Longley

A Guardian / Herald Scotland Book of the Year 
 
Winner of the 2017 PEN Pinter prize 
Shortlisted for the 2017 Forward Prize 
 
 
A remote townland in County Mayo, Carrigskeewaun has been for nearly fifty years Michael Longley’s home-from-home, his soul-landscape. Its lakes and mountains, wild animals and flowers, its moody seas and skies have for decades lit up his poetry. Now they overflow into Angel Hill, his exuberant new collection. In addition, Longley has been exploring Lochalsh in the Western Highlands where his daughter the painter Sarah Longley now lives with her family. She has opened up for him her own soul-landscape with its peculiar shapes and intense colours. In Angel Hill the imaginations of poet and painter intermingle and two exacting wildernesses productively overlap. Love poems and elegies and heart-rending reflections on the Great War and the Northern Irish Troubles add further weight to Michael Longley’s outstanding eleventh collection. Angel Hill will undoubtedly delight this great poet’s many admirers.

Angel Hill

**WINNER OF THE 2022 FELTRINELLI INTERNATIONAL POETRY PRIZE ** 
 
 
'One of the most perfect poets alive. There is something in his work both ancient and modern. I read him as I might check the sky for stars.' Sebastian Barry 
 
Michael Longley's new collection takes its title from Dylan Thomas - 'for the sake of the souls of the slain birds sailing'. The Slain Birds encompasses souls, slayings and many birds, both dead and alive. The first poem laments a tawny owl killed by a car. That owl reappears later in 'Totem', which represents the book itself as 'a star-surrounded totem pole/ With carvings of all the creatures'. 'Slain birds' exemplify our impact on the creatures and the planet. But, in this book's cosmic ecological scheme, birds are predators too, and coronavirus is 'the merlin we cannot see'. Longley's soul-landscape seems increasingly haunted by death, as he revisits the Great War, the Holocaust and Homeric bloodshed, with their implied counterparts today. Yet his microcosmic Carrigskeewaun remains a precarious 'home' for the human family. It engenders 'Otter-sightings, elvers, leverets, poetry'. Among Longley's images for poetry are crafts that conserve or recycle natural materials: carving, silversmithing, woodturning, embroidery. This suggests the versatility with which he remakes his own art. Two granddaughters 'weave a web from coloured strings' and hang it up 'to trap a big idea'. The interlacing lyrics of The Slain Birds are such a web.

The Slain Birds

Raymond Briggs

A marvellous, life-enhancing book for all ages, now a major animated film starring Jim Broadbent, Brenda Blethyn and Luke Treadaway 
 
Utterly original, deeply moving and very funny, Ethel &amp; Ernest tells the story of Raymond Briggs' parents' marriage, lady's maid Ethel and milkman Ernest, from their first chance encounter in 1928, through the birth of their son Raymond in 1934, to their deaths, within months of each other, in 1971. 
 
Told in Brigg`s unique strip-cartoon format, Ethel and Ernest live through the defining moments of the twentieth century: the darkness of the Great Depression, the build up to World War II, the trials of the war years, the euphoria of VE Day and the emergence of a generation from post war austerity to the cultural enlightenment of the 1960s. 
 
Ethel &amp; Ernest is a heartfelt and affectionate tribute to an ordinary couple and an extraordinary generation.

Ethel & Ernest

Guy Delisle

Guy Delisle's work for a French animation studio requires him to oversee production at various Asian studios on the grim frontiers of free trade. His employer puts him up for months at a time in 'cold and soulless' hotel rooms where he suffers the usual deprivations of a man very far from home. After Pyongyang, his book about the strange society that is North Korea, Delisle turned his attention to Shenzhen, the cold, urban city in Southern China that is sealed off with electric fences and armed guards from the rest of the country. The result is another brilliant graphic novel - funny, scary, utterly original and illuminating.

Shenzhen

A Travelogue From China

Evie Wyld

Joe Sumner

Evie Wyld was a girl obsessed with sharks. Spending summers in the brutal heat of coastal New South Wales, she fell for the creatures. Their teeth, their skin, their eyes; their hunters and their victims. 
 
Everything is Teeth is a delicate and intimate collection of the memories she brought home to England, a book about family, love and the irresistible forces that pass through life unseen, under the surface, ready to emerge at any point.

Everything is Teeth

Famously referred to as part of the 'Axis-of-Evil', North Korea remains one of the most secretive and mysterious nations in the world today. A series of manmade and natural catastrophes have also left it one of the poorest. When the fortress-like country recently opened the door a crack to foreign investment, cartoonist Guy Delisle found himself in its capital Pyongyang on a work visa for a French film animation company, becoming one of the few Westerners to witness current conditions in the surreal showcase city. 
 
Armed with a smuggled radio and a copy of 1984, Delisle could only explore Pyongyang and its countryside while chaperoned by his translator and a guide. But among the statues, portraits and propaganda of leaders Kim Il-Sung and his son Kim Jong-Il - the world's only Communist dynasty - Delisle was able to observe more than was intended of the culture and lives of the few North Koreans he encountered. 
 
His astute and wry musings on life in the austere and grim regime form the basis of this remarkable graphic novel. Pyongyang is an informative, personal and accessible look at an enigmatic country.

Pyongyang

A Journey in North Korea

Antonio Altarriba

When published in 2009, The Art of Flying was hailed as a landmark in the history of the graphic novel in Spain for its deeply touching synthesis of individual and collective memories. A deeply personal testament, Altarriba’s account of what led his father to commit suicide at the age of ninety is a detective novel of sorts, one that traces his father’s life from an impoverished childhood in Aragon, to service with Franco’s army in the Civil war, escape to join the anarchist FAI, exile in France when the Republicans are defeated, to return to Spain in 1949 and the stultifying existence to which Republican sympathisers were consigned under Francoism. 
 
The Art of Flying is immensely moving and vivid, beautifully drawn by Kim. It was highly praised in Spain on first publication, where it was compared to Art Spiegelman’s Maus. It went on to win six major prizes, including the 2010 National Comic Prize.

The Art of Flying

Arthur Lubow

Diane Arbus was one of the greatest photographers of the last century. Her portraiture of freaks, circus performers, twins, nudists and others on the social margins connected with a wide public at a deep psychological level. Her suicide in New York in 1971 overshadowed the reception to her work. Her posthumous exhibition at the Museum of Modern Art a year later drew lines around the block. 
 
She was born into a Russian-Jewish family, the Nemerovs, who owned a department store on Fifth Avenue. They were family friends with the Avedons. Richard Avedon later championed Arbus’s work. Avedon rose to greater and greater commercial success through the magazine world. Arbus died in a rent-protected apartment scrambling to earn her keep with odd teaching assignments. Lubow’s biography begins at the moment Arbus quit the world of commercial photography to be an artist. She was uncompromising in that ambition. The book ends with her death. The entire narrative is a slow march towards that event.

Diane Arbus

Joe Sacco

In late 1995 and early 1996, cartoonist/reporter Joe Sacco travelled four times to Gorazde, a UN-designated safe area during the Bosnian War, which had teetered on the brink of obliteration for three and a half years. 
 
Still surrounded by Bosnian Serb forces, the mainly Muslim people of Gorazde had endured heavy attacks and severe privation to hang on to their town while the rest of Eastern Bosnia was brutally 'cleansed' of its non-Serb population. But as much as Safe Area Gorazde is an account of a terrible siege, it presents a snapshot of people who were slowly letting themselves believe that a war was ending and that they had survived. 
 
Since it was first published in 2000, Safe Area Gorazde has been recognized as one of the absolute classics of graphic non-fiction. We are delighted to publish it in the UK for the first time, to stand beside Joe Sacco's other books on the Cape list - Palestine, The Fixer and Notes from a Defeatist.

Safe Area Gorazde

The War in Eastern Bosnia 1992-95

In The Fixer Joe Sacco returns to Bosnia, the setting for his first masterpiece, Safe Area Gorazde. In 2001 he went back to Sarajevo to meet up with his old 'fixer', an army veteran called Neven who, for the right price, could arrange anything for the visiting journalist. Sacco gradually realized that Neven's own story - a microcosm of the Balkan conflict itself - might be the most compelling of all. Through Neven, Sacco tells the story of the warlords and gangsters who ran the country during the war, but all the time he - and the reader - never know whether Neven is telling the truth.

The Fixer

Audrey Niffenegger

Otherworldly, provocative, and strange, Audrey Niffenegger’s art is a vital a part of her vision as her bestselling novels The Time Traveler’s Wife and Her Fearful Symmetry. Awake in the Dream World is a mid-career retrospective of Nifffenegger’s work, reflecting her talent for cultivating a captivating narrative exclusively through pictures and her own confrontations with life, mortality, and magic. 
 
Niffenegger's fantastical body of work is reminiscent of renowned pen and ink predecessors such as Edward Gorey, Aubrey Beardsley, Egon Schiele, Edward Dulac, and Horst Janssen, but with a brutally honest and unapologetically strange female perspective that touches upon the universal trials of life - death and decay, love, jealousy, redemption, and the inevitability of change. Her works on paper, lithographs, and aquatints reflect the often surreal narratives of her artist's books. Through self-portraiture, Niffenegger reveals her own self-assurance and whimsy alongside anxiety and loneliness, probing darker corners of the human heart and mind, often exploring the hopeless struggle with what Shakespeare called 'this bloody tyrant, Time'. 
 
Essays by Audrey Niffenegger, National Museum of Women in the Arts Curator of Book Arts Krystyna Wasserman, and Art Institute of Chicago Curator and School of the Art Institute Professor Mark Pascale explore the artist's influences and work. 
 
Published in conjunction with an exhibition at the National Museum of Women in the Arts

Awake in the Dream World

The Art of Audrey Niffenegger

Akshi Singh

The celebrated psychoanalyst Marion Milner invented new ways of thinking about leisure. A hundred years on, Akshi Singh follows her methods, with life-changing consequences. 
 
'Illuminating and thought-provoking' Darian Leader'Astounding, generous, and quietly exhilarating' Daisy LaFarge 
 
Marion Milner lived for the entirety of the twentieth century. By the age of ninety-eight she had written nine books revealing how free time and creativity are vital for a fulfilled life. 
 
Akshi Singh was born ninety years after Milner, in Rajasthan, over four thousand miles away from where Milner lived and worked. At first glance, the worlds of these two women seem entirely separate. Yet when Singh found herself standing at a crossroads in her life and grieving personal loss, she realised the questions and preoccupations Milner was exploring were her own. 
 
In Defence of Leisure presents Marion Milner as a writer for our times. In asking the simple question: how do I want to spend my free time? Milner developed a method for discovering her true likes and dislikes. As Singh follows Milner's approach - from keeping a diary to painting, building a home to travelling to the sea - she discovers the importance of rest, creativity and play in all of our lives, and how it can open the door to achieving what we truly desire. 
 
'An exquisite, open-hearted celebration of desire, friendship and lives imaginatively lived' Marianne Brooker, author of Intervals 
 
'Singh's verve and intelligence radiate from every page' Hannah Zeavin

In Defence of Leisure

Experiments in Living with Marion Milner

Don McCullin

The updated retrospective published for McCullin's 80th birthday. 
 
Contains 40 new unpublished photographs and a new introduction — the definitive edition. 
 
McCullin’s reputation has long been established as one of the greatest photographers of conflict in the last century. In the fourteen years since the first publication of the book, McCullin has shed the role of war photographer and become a great landscape artist. He has also travelled widely through Africa, India, the Middle East and among the tribes living in Stone Age conditions in Indonesia. His journey from the back streets of north London to his rural retreat in the depths of Somerset is unparalleled. It includes a passage through the most terrible scenes of recent history, for which his stark views of the West Country offer him some redemption.

The New Definitive Edition

Adrian Tinniswood

'Glamour, scholarship and superlative storytelling [...] an enthralling read.' 
LUCY WORSLEY 
 
Adrian Tinniswood opens the doors on the excess, intrigue and absurdities of life in the late Victorian and Edwardian country house 
 
In the decades before the First World War, the owners of the nation’s stately homes revelled in a golden age of glory and glamour. Nothing lay beyond their reach in a world where privilege and hedonism went hand-in-hand with duty and honour. 
 
This was a time when the ancestral seats of ancient nobility stood side-by-side with the fabulous palaces of Jewish bankers and Indian princes, when dukes and duchesses mixed with aristocratic society hostesses who had learned to dance in the chorus line and self-made millionaires who had been raised in the slums of Manchester and Birmingham. 
 
The Power and the Glory explores the country house during this golden age, when Britain ruled over a quarter of the world’s population, when its stately homes were at their most opulent and when, for the privileged few, life in the country house was the best life of all. 
 
'A wonderful book.' 
JUDITH FLANDERS 
 
'Scintillating and brilliant, from a master of the subject.' 
GARETH RUSSELL 
 
**A DAILY TELEGRAPH BOOK OF THE YEAR**

The Power and the Glory

The Country House Before the Great War

Maggie Nelson

**AS SEEN ON BBC2's BETWEEN THE COVERS** 
 
A Guardian Book of the Year 
 
Maggie Nelson is one of the most electrifying writers at work in America today, among the sharpest and most supple thinkers of her generation - Olivia Laing 
 
Bluets winds its way through depression, divinity, alcohol, and desire, visiting along the way with famous blue figures, including Joni Mitchell, Billie Holiday, Yves Klein, Leonard Cohen and Andy Warhol. While its narrator sets out to construct a sort of 'pillow book' about her lifelong obsession with the colour blue, she ends up facing down both the painful end of an affair and the grievous injury of a dear friend. The combination produces a raw, cerebral work devoted to the inextricability of pleasure and pain, and to the question of what role, if any, aesthetic beauty can play in times of great heartache or grief. 
 
Much like Roland Barthes's A Lover's Discourse, Bluets has passed between lovers in the ecstasy of new love, and been pressed into the hands of the heartbroken. Visceral, learned, and acutely lucid, Bluets is a slim feat of literary innovation and grace, never before published in the UK.

Bluets

Don McCullin's view of England is rooted in his wartime childhood and growing up around Finsbury Park in the fifties. His first published photograph was a picture of a gang from his neighbourhood, which appeared in a newspaper after a local murder; McCullin always balanced his anger at the unacceptable face of the nation with tenderness or compassion. 
 
In England combines some of his greatest work with an entirely new body of photographs. McCullin sees his home country with its perpetual social gulf between the affluent and the desperate in mind. He continues in the same black and white tradition as he did between foreign assignments for the Sunday Times in the sixties and seventies, when his view of a deprived Britain seemed as dark as the conflict zones from which he'd just escaped. 
 
This book marks his return to the cities and landscape he knew as a young photographer. At a time when we might believe the world has changed beyond our imagination, McCullin shows us a view of England where the line between the wealthy and the deprived is as defined as ever. This time he adds wry humour to his lyricism, as if the nation is as absurd as it is tragic.

In England

Antony Gormley

Over a period of 100 days from July to October 2009, 2,400 people stood on the fourth plinth in Trafalgar Square for one hour. They were free to do as they chose during this period in the spotlight. Nobody could predict what would happen or the scale of the response. Many thousands applied for the 2,400 slots and candidates were selected randomly. Millions watched the events as they were all filmed and available online. Hundreds of thousands continued to turn to the website long after the project itself was finished. The event was a phenomenon, which we are grappling to understand. The entire enterprise was the conceived by Antony Gormley, and can be seen as a further example of the artist's ability to tap into the public consciousness. 
 
The book will contain studio portraits of all the 'plinthers' prior to their appearance. Photographs will be drawn from innumerable sources. The whole event has been remarkably photographed by Clare Richardson and the final edit will be drawn from a selection of 600 of her pictures of 'plinthers and public by day and night. Lee Hall will be writing a text about the importance of the square itself as a location. Essays will be included from Hans Ulrich Obrist, the art historian, as well as by both an anthropologist and a psychoanalyst. All the 'plinthers' were subject to extensive interviews set up by an oral history expert and their voices will contribute to the creation of a book that is more than a document. The aim is to capture the emotional intensity and the personally transformative effect that was created by one of the most extraordinary works of public art in our time.

One and Other

'The veteran war photographer [Don McCullin] has turned his lens to more peaceful scenes... for his latest book, The Landscape. The images carry a dramatic feel and a preference for stormy skies that reveal an intimacy with conflict and destruction.' Guardian 
 
After a career spanning sixty years, Sir Don McCullin, once a witness to conflict across the globe, has become one of the great landscape photographers of our time. McCullin’s pastoral view is far from idyllic. Though the woods and stream close to his house in Somerset have offered some respite, he has not sought out the quiet corners of rural England. He is drawn, instead, to the drama of approaching storms. He has an acute sense of how the emptiness of his immediate landscape echoes a wider tone of disquiet. 
 
McCullin is based in the geographical centre of southern England. The presence of sacred mounds, hill forts, ancient roads and the nearby monuments of the prehistoric era have shaped his sense of nationhood. But down on the Somerset Levels, he has tramped through the flooded lowlands. The imagery of his home county, ravaged by storms, inevitably projects the associations of a battlefield, or, at least, the views of one intimate with scenes of war. 
 
He is not alone in his preference for darkened clouds over clear skies. McCullin’s West Country is not far removed from the East Anglia of Constable’s Dedham Vale two centuries earlier. His knowledge of his historical predecessors places him deep in a Romantic tradition. His experience as a traveller reinforces the sense of a man on the edge of civilisation under siege. Nowhere is this more apparent than in his repeated views of the glories of Palmyra and of the destruction of this ancient Syrian city. 
 
The Landscape is the last in a long series of books published by Jonathan Cape, which encompasses the entirety of McCullin’s working life.

The Landscape

No other photographer in modern times has recorded war and its aftermath as widely and unsparingly as Don McCullin. After a childhood in London during the Blitz, and after the hardships of evacuation, McCullin feels his life has indeed been shaped by war. 
 
From the building of the Berlin Wall at the height of the Cold War to El Salvador and Kurdistan, McCullin has covered the major conflicts of the last fifty years, with the notable exception of the Falklands, for which he was denied access. His pictures from the Citadel in Hue and in the ruins of Beirut are among the most unflinching records of modern war. The publication of many of his greatest stories in the Sunday Times magazine did much to raise the consciousness of a generation, even if he himself now fears that photographs cannot prevent history from repeating itself. The brutality of conflict returns over and over again. McCullin here voices his despair. 
 
McCullin recounts the course of his professional life in a series of devastating texts on war, the events and the power of photography. The conclusion of the book marks McCullin’s retreat to the Somerset landscape surrounding his home, where the dark skies over England remind him yet again of images of war. Despite the sense of belonging and even contentment, for him there is no final escape.

Shaped By War

Julian Barnes

The updated edition of Julian Barnes’ best-loved writing on art, with seven new exquisite illustrated essays 
 
‘Flaubert believed that it was impossible to explain one art form in terms of another, and that great paintings required no words of explanation. Braque thought the ideal state would be reached when we said nothing at all in front of a painting. But we are very far from reaching that state. We remain incorrigibly verbal creatures who love to explain things, to form opinions, to argue... It is a rare picture which stuns, or argues, us into silence. And if one does, it is only a short time before we want to explain and understand the very silence into which we have been plunged.’ 
 
Julian Barnes began writing about art with a chapter on Géricault’s The Raft of the Medusa in his 1989 novel A History of the World in 10½ Chapters. Since then he has written a series of remarkable essays, chiefly about French artists, which trace the story of how art made its way from Romanticism to Realism and into Modernism. 
 
Fully illustrated in colour throughout, Keeping an Eye Open contains Barnes’ essays on Géricault, Delacroix, Courbet, Manet, Morisot, Fantin-Latour, Cézanne, Degas, Cassatt, Redon, Van Gogh, the legendary critic Huysmans, Bonnard, Vuillard, Vallotton, Braque, Magritte, Oldenburg, Howard Hodgkin and Lucian Freud. It also offers new perspectives on the fruitful relationship between writers and artists, and on the rivalry among Russian collectors of French art in the late 19th century. 
 
‘A typically elegant and absorbing book by one of the greatest contemporary English writers.’ Guardian *Books of the Year* 
‘Gave me a new confidence in how to understand and, more importantly, enjoy wandering around an exhibition.’ Mariella Frostrup 
‘My book of the year.’ Natalie Haynes, Independent

Keeping an Eye Open

Essays on Art (Updated Edition)

A landmark of graphic journalism, capturing the heart of day-to-day life in occupied Palestine. 
 
Palestine remains one of the most influential works of visual reportage ever created - a ground-breaking fusion of comic art and investigative journalism. 
 
Based on months of on-the-ground reporting in the early 1990s, Joe Sacco powerfully documents his own experiences and the daily lives of Palestinians during the First Intifada in the West Bank and Gaza Strip with remarkable insight and clarity. 
 
Through drawings, reportage and storytelling, Sacco captures the moments of grief, resilience and absurdity that conventional journalism can miss. Palestine is a modern classic that continues to inspire artists, journalists and readers who seek an unflinching and nuanced account of the conflict. 
 
‘The bar is set extremely high when it comes to graphic books and the Middle East: one thinks of Joe Sacco's Palestine’ Guy Delisle 
 
‘Palestine is utterly compelling, and as affecting as the work of any war photographer or poet’ Varsity 
 
For readers interested in Middle Eastern history, human rights and documentary storytelling.

Palestine

John Richardson

'A masterpiece' Sunday Times 
 
'Magisterial... thrilling' Guardian 
 
'Terrifically enjoyable' Daily Telegraph 
 
The beautifully illustrated, long-awaited final volume of John Richardson's magisterial Life of Picasso, drawing on original research from interviews and never-before-seen material in the Picasso family archives. 
 
 The Minotaur Years opens in 1933 with a visit by the Hungarian-French photographer Brassaï to Picasso's château in Normandy, Boisgeloup, where he would take his iconic photographs of the celebrated plaster busts of Picasso's lover Marie-Thérèse Walter. Picasso was contributing to André Breton's Minotaur magazine and spending time with the likes of Man Ray, Salvador Dalí, Lee Miller, and the poet Paul Éluard, in Paris and the south of France. It was during this time that Picasso began writing surrealist poetry and became obsessed with the image of himself as the mythic Minotaur. 
 
 Richardson shows us the artist being as prolific as ever, painting Walter, as well as the surrealist photographer Dora Maar, who became a muse, collaborator and lover. The bombing of Guernica in April 1937 would inspire Picasso's vast masterwork of the same name, which he painted in just a few weeks for the Spanish Pavilion at the Paris World's Fair. When the Nazis occupied Paris in 1940, Picasso chose to remain in the city despite the threat that his art would be confiscated. In 1943, Picasso met Françoise Gilot who would replace Maar and inspire a brilliant new sequence of paintings. 
 
 As always, Richardson tells Picasso's story through his work, analysing how it shows what the artist was feeling and thinking. His fascinating and illuminating narrative immerses us in one of the most exciting moments in twentieth-century cultural history, and brings to a close the definitive and critically acclaimed biography of one of the world's most celebrated artists.

Showing results for: ‘Michael Symmons Roberts’

Filters

Category

Publication Date

Format

Series

Imprint

Follow penguin

Follow ladybird

Follow puffin

Sign up to the Penguin newsletter