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

The poems in Michael Symmons Roberts's fifth collection move in a world riven by violence and betrayal, between nations and individuals. As ever, this is a metaphysical poetry rooted in physical detail - but the bodies here are displaced, disguised, in need of rescue. A man in a fox suit prowls the woods afraid of meeting true foxes, while a vixen dressed as a man moves among the powerful at society soirées. God no longer 'walks in his garden in the cool of the day', but drives through a damaged city in the small hours. At the same time a couple celebrate armistice with an act of love in an anonymous hotel room. 
 
As the judges of the Whitbread Prize noted, Roberts' poetry 'inspires profound meditation on the nature of the soul, the body, the stars and the heart - and sparks revelation.' Roberts is a poet of unusual range and dexterity, fascinated by faith and science, by the physical and the transcendental, and with this new book he confirms his position as a truly original, and thrillingly gifted, lyric poet.

The Half Healed

When Corpus won the Whitbread Poetry Award, the judges described it as 'an outstanding, perfectly weighted collection that inspires meditation on the nature of the soul...reading it feels like making an exciting discovery and coming back to an acknowledged classic all at once.' Michael Symmons Roberts' first book, Soft Keys, was the original and most exciting discovery of all. 
 
The poems in Soft Keys engage in a search for meaning and order in the everyday and in the extraordinary - a locust officer tracking swarms in an African desert, a hobbyist building a replica of the world out of matchsticks, a chance encounter with the French mystic Simone Weil playing video games in a Torquay arcade... Richly inventive, and written in a wide diversity of poetic forms, Soft Keys looks for those places and moments where the curtain between earth and heaven is thinnest; it was a powerful, arresting debut and the beginning of a remarkable career. 
 
As Les Murray said at the time: 'Like Nijinsky, he can leap into the air and stay there. You can reach up and feel the thump of the stage finely persisting in an ankle bone. Roberts is a poet for the new, chastened, unenforcing age of faith that has just dawned.'

Soft Keys

Michael Longley

Celebrated for his lyrical intensity, his metaphysical wit, his thematic and formal range, Michael Longley is widely regarded as one of the finest poets in these islands. His life in Northern Ireland has contributed to the complexity of a poetic universe in which love, friendship and aesthetics contend with war, death and violance. There are no hard boundaries between Longley's love poetry, his nature poetry, his war poetry and his elegies. Longley looks to the poets of Greece and Rome, particularly Homer and Ovid, and to the poets of the two world wars. His great ability, perhaps, has been to distil the large and difficult themes into highly concentrated forms. 
 
This is Michael Longley's own selection from thirty years of writing; it reveals the strength and coherence of an extraordinary body of work.

Selected Poems

Peter Redgrove

Peter Redgrove, who died in 2003, was one of the most prolific of post-war poets and, as this Collected Poems reveals, one of the finest. A friend and contemporary of Ted Hughes and Sylvia Plath in the early 1950s, Redgrove was regarded by many as their equal, and his work has been championed by a wide variety of writers - from Margaret Drabble to Colin Wilson, Douglas Dunn to Seamus Heaney. Ted Hughes once wrote warmly to Redgrove of 'how important you've been to me. You've no idea how much - right from the first time we met.' 
 
In this first Collected Poems, Neil Roberts has gathered together the best poems from twenty-six volumes of verse - from The Collector (1959) to the three books published posthumously. The result is an unearthed treasure trove - poems that find new and thrilling ways of celebrating the natural world and the human condition, poems that dazzle with their visual imagination, poems that show the huge range and depth of the poet's art. In Redgrove's poetry there is a unique melding of the erotic, the terrifying, the playful, the strange, and the strangely familiar; his originality and energy is unparalleled in our time and his work was the work of a true visionary.

Collected Poems

In the space of two collections, Gorse Fires (1991) and The Ghost Orchid (1995), Michael Longley broke a long poetic slience and re-drew the map of poetry at the end of the millenium. The Weather in Japan consolidates and expands the vision of those volumes, leading the reader through the various hells we have made this century. 
 
Preferring to see the horrors of political violence through the filter of the domestic, pointing up the fragility of the order we create, he takes us from the fields of Flanders, through Terezin and Auschwitz to the troubled north of Ireland. And, in images drawn from the west of Ireland, Italy, America and Japan, he explores the fundamentals of 'home' and 'civilisation'. 
 
Longley's grave humanity, Zen-like connective imagination and ecological eye give the most delicate compelx, beautiful things - a spring gentian, a lapwing or a snowflake - the nutritious light that allows them to grow greater than the crass brutality that surrounds them.

The Weather In Japan

Michael Longley has been called 'one of the finest lyric poets of our time'. In assembling the work of forty years, his Collected Poems displays a brilliantly sustained achievement whose depth, beauty and wit can now be fully appreciated. Longley's poetry combines intense concentration with remarkable variety. The formal and thematic range laid down in No Continuing City (1969) has undergone a series of rich metamorphoses up to Snow Water (2004), and the two poems included here as an epilogue. 
 
Longley's genres span love poetry, war poetry, nature poetry, elegies, satires, verse epistles, poems that reflect on art and the art of poetry. He has extended the capacity of the lyric to absorb dark matter: the Great War, the Holocaust, the Northern Irish 'Troubles'. His poetic landscape intermingles Belfast (where he lives), western Ireland, Italy, Japan and Homeric Greece. Longley's superb translations from classical poets (such as 'Ceasefire', which greets the IRA ceasefire in terms of the Iliad) speak to contemporary issues while activating the deepest sources of European poetry.

Michael Longley has remarkable powers of reinvention. Certain themes remain constant - the natural world, war, violence, love, friendship, art, death - but they also keep changing because the forms and genres of his poetry never stand still. In A Hundred Doors a sinuous short line complements his variations on pentameter and hexameter. And Longley's interlacing of individual lyrics, so that a diverse collection seems a single poem, intensifies in the shadow of mortality. 
 
A sequence about his grandchildren's births is counterpointed by elegies, including Longley's continuing elegy for the Great War dead. The Mayo townland, Carrigskeewaun, with its cast of leverets, otters, swans, wrens, lesser twayblade and bird's-foot trefoil, also takes on fresh guises. Longley is among Europe's foremost 'ecological' poets. Yet Carrigskeewaun is ultimately symbolic, a microcosm, a 'soul-arena'. 
 
A Hundred Doors roams in time and space. The title-poem evokes the oldest Byzantine church in Greece: Our Lady of a Hundred Doors on the island of Paros. The remains of a Greek temple 'ache' beneath its floor. Wild orchids, which crop up in Greece and the Italian Garfagnana as well as Ireland, are among the collection's multiple 'doors'. Others are music and paintings, 'cloudberry jam from Lapland', a Shetland pony. This is work of power, precision and delicacy: poems that 'bend and magnify the daylight', poems by a master craftsman.

A Hundred Doors

Emerging, as it did, after over a decade of silence, Gorse Fires had an immediate and resounding impact - revealing a poetry that seemed renewed and re-energised - and winning the Whitbread Prize for Poetry in 1991. It is now regarded as the pivotal book in Michael Longley's distinguished career. 
 
If Ireland remains Longley's starting-point or implied focus, it is often sighted through disturbing perspectives that derive from foreign cultures, from Homer's Odyssey, from the Second World War, and from the Holocaust. Even his beautifully precise poems about the West of Ireland are shadowed by the many destructive forces ranged against the creative act. 
 
Longley's versions of Odysseus' return to Ithaca and 'Ghetto' (based on the Polish ghettoes) epitomise his concern with the meaning of home and family. He sees these archetypes of Western civilisation as vulnerable, problematic, violated by power. Odysseus' homecoming involves murder and vengeance as well as reunions - a connection with the ambiguities of life in Northern Ireland. 
 
Gorse Fires is an unusual artistic blend: darkly austere, yet abundant in images, catalogues and syntactical virtuosity. The formal links between poems gives the whole collection the air of a richly varied sequence; it is a work of the highest order. 
 
Winner of the Whitbread Prize for Poetry.

Gorse Fires

Andrew Barrow

'Your brother looked healthy, happy, natural. But everything else about him is extremely odd. Not faintly odd. Extremely odd. Except in appearance. He's the opposite of you.' Quentin Crisp 
 
At the age of twenty-two, the youngest of five brothers, Jonathan Barrow, was killed with his fiancée in a car crash. He left behind the manuscript of a novel, The Queue, in which, among other things, he prophesied his own death. The story of a boy and a dachshund, populated by a kaleidoscopic menagerie of people and animals and an array of anthropomorphic in-betweens, The Queue is a vivid and irreverent portrayal of the world in which Jonathan and his awe-struck older brother Andrew were raised. 
 
Jonathan and his book form the framework of a remarkable study of a young man's inner and outer effervescence, his family, England and high and low society in the Swinging Sixties. Filled with fascinating and fantastical anecdotes, Animal Magic documents a heady and peripatetic childhood in Lancashire, the Lake District and Wiltshire, misadventures at home and school, and the early working life of the two brothers, on the lower rungs of show business, backstage at Claridge's, and finally in advertising. This spellbinding elegy negotiates love affairs, family tensions, exhibitions, publishers' rejections and precarious living in a flat in Tite Street, Chelsea. 
 
Punctuated with excerpts from The Queue and Jonathan's other bizarre and brilliant writings, Animal Magic is a book bursting with humour, wit and pathos and featuring an outlandish cast of characters, from an eccentric father, a mischievous family dog and a down-and-out ex-schoolmaster to curious stars of Swinging London like Mick Jagger and Tommy Cooper. It is a memoir unlike any other.

Animal Magic

A Brother's Story

The poems collected in Snow Water find their gravity and centre in Michael Longley's adopted home in west Mayo, but range widely in their attention - from ancient Greece to Paris and Pisa, from Central Park to the trenches of the Somme. Meditations on nature and mortality, there is a depth and delicacy to these poems, a state of lucid wonder, that allows for the easy companionship of love poem and elegy, hymns to marriage and friendship and lyric explorations of loss. 
 
Though the embodiment of these themes is often found in the wildlife of Carrigskeewaun and Allaran Point - the plovers and oystercatchers, whooper swans and snow geese, the hares and otters, the marsh marigolds and yellow flags - Snow Water is emphatically a celebration of humanity. These are all, in a way, poems of love and kinship - even the magnificent sequence that links the horrors of the Great War with those of the Trojan War, and with all the wars between. 
 
What Longley says of Edward Thomas might easily be said of him: 'The nature poet turned into a war poet as if/ He could cure death with the rub of a dock leaf'. Full of intensity and grace, tenderness and wisdom, these are poems of deceptive simplicity from a craftsman of international stature.

Snow Water

Joe Sacco

A powerful graphic novel, capturing the heart of day-to-day life in occupied Palestine. 
 
In late 1991 and early 1992, at the time of the first Intifada, Joe Sacco spent two months with the Palestinians in the West Bank and Gaza Strip, travelling and taking notes. 
 
Upon returning to the United States he started writing and drawing Palestine, which combines the techniques of eyewitness reportage with the medium of comic-book storytelling to explore this complex, emotionally weighty situation. He captures the heart of the Palestinian experience in image after unforgettable image, with great insight and remarkable humour. 
 
The nine-issue comics series won a l996 American Book Award. It is now published for the first time in one volume, befitting its status as one of the great classics of graphic non-fiction. 
 
&lsquo;The bar is set extremely high when it comes to graphic books and the Middle East: one thinks of Joe Sacco's Palestine' Guy Delise 
 
&lsquo;Palestine is utterly compelling, and as affecting as the work of any war photographer or poet&rsquo; Varsity

Palestine

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

Sam Willetts

The poems in this remarkable first collection have been hard won: 'Fruits of much grief they are,' as Donne said, 'emblems of more.' Having lost ten years to heroin addiction and recovery, Sam Willetts emerges now - suddenly, and apparently from nowhere - as a fully-fledged and significant English poet. 
 
In a book deeply conscious of history, one series of poems tracks his mother's escape, as a young girl, from the Nazis, in a narrative that moves from a Stuka attack on the Smolensk Road to the Krakow ghetto, the destruction of Warsaw, to Nuremberg and Nagasaki and, finally, his mother's grave. Other poems address Englishness, secular Jewishness, and the childhood pleasures of Oxfordshire - an increasingly deceptive pastoral, stalked and eventually shattered by heroin, which brings a grim new existence among dealers and users. The redemption the poet finds, through detox and rehab, love and writing, is full of regret for the years and lives wasted, but also offers a lyrical rebirth of the senses: 'In a new light, a new moon/ that isn't made of scorched tinfoil/will turn your tide again'. 
 
Deft, economical and wonderfully original, this is work that celebrates the peaks and troughs of a lived life, the poems' vivid clarity feeling both fresh and fully earned. It is rare to find an unknown poet of such mature quality, and New Light for the Old Dark represents a brilliant dawning.

New Light for the Old Dark

Sharon Olds

Michael Ondaatje has called Sharon Olds's poetry 'pure fire in the hands' and cheered the 'roughness and humour and brag and tenderness and completion in her work as she carries the reader through rooms of passion and loss'. This rich selection - made by the author - exhibits those qualities in poem after poem, reflecting, moreover, an exciting experimentation with rhythm and language and a movement toward an embrace beyond the personal. Subjects are revisited - the pain of childhood, adolescent sexual stirrings, the fulfilment of marriage, the wonder of children - but each re-casting penetrates ever more deeply, enriched by new perceptions and conceits. 
 
A powerful distillation of the best work from one of America's most gifted and widely read poets, drawn from her seven published volumes, this is a testament to a remarkable writer's depth, range and continuing development.

Mark Doty

My Alexandria comprises a series of eloquent meditations on the essential themes: mortality and life, beauty and loss. The collection is haunted by the spectre of AIDS, but is transfigured by Mark Doty's ranging imagination, effortless stylistic skill and huge emotional power.

My Alexandria

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

Nick Hayes

The Drunken Sailor traces the life of Arthur Rimbaud: poet, surrealist, libertine and gun runner. In dazzling artwork, Nick Hayes follows Rimbaud from his youth in Ardennes to the poetry salons of Paris, from the absinthe-glazed passion of his relationship with Verlaine to his flight into the jungles of Indonesia and the deserts of Yemen and Egypt. Told entirely in Rimbaud’s own words, from a new translation of Le bateau ivre, The Drunken Sailor confirms Nick Hayes’ place as one of the most talented graphic novelists at work today.

The Drunken Sailor

The Life of the Poet Arthur Rimbaud in His Own Words

Neil Rollinson

Continuing where he left off with A Spillage of Mercury, Neil Rollinson's eagerly awaited new collection delves again into the dark, moist, unexpected bag of human experience. Taking the themes of love, sex, and life's unpredictable mysteries and excitements, he scrapes away at the veneer of normality to reveal a world that is instantly stranger and more compelling than before. 
 
Rollinson revisits the erotic with his usual wit and bravado, in poems that are sometimes playful and sensitive, sometimes visceral and shocking. He explores scientific subjects through bedroom eyes, introducing the idea of entropy to the lovers' lexicon; he makes sport a backdrop for loneliness - his characters playing golf on the moon, taking the final penalty in the shoot-out, or wandering aimlessly and forever through the high grass of the village-cricket boundary. 
 
Diverse and provocative, vibrant and accessible, Spanish Fly is an unusually happy combination: a successful stimulant and a wholly satisfying performance.

Spanish Fly

Blake Bailey

'Superlative... definitive and genuinely gripping' SUNDAY TIMES 
 
'Utterly engrossing' EVENING STANDARD 
 
'Compulsively readable... Beautifully written... Definitive' OBSERVER 
 
Appointed by Philip Roth and granted complete access and independence, Blake Bailey spent years poring over Roth's personal archive, interviewing his friends, lovers, and colleagues, and engaging Roth himself in breathtakingly candid conversations. The result is an indelible portrait of an American master and of the post-war literary scene. 
 
Bailey shows how Roth emerged from a lower-middle-class Jewish milieu to achieve the heights of literary fame, how his career was nearly derailed by his catastrophic first marriage, and how he championed the work of dissident novelists behind the Iron Curtain. Bailey examines Roth's rivalrous friendships with Saul Bellow, John Updike and William Styron, and reveals the truths of his florid love life, culminating in his almost-twenty-year relationship with actress Claire Bloom, who pilloried Roth in her 1996 memoir, Leaving a Doll's House. Tracing Roth's path from realism to farce to metafiction to the tragic masterpieces of the American Trilogy, Bailey explores Roth's engagement with nearly every aspect of post-war American culture. 
 
*A 'BOOKS OF 2021' PICK IN THE OBSERVER, GUARDIAN, FINANCIAL TIMES, SUNDAY TIMES, EVENING STANDARD, SPECTATOR AND NEW STATESMAN*

Philip Roth

The Biography

Anne Carson

Anne Carson' s first full-length publication in Britain, Glass and God introduces an assured and challenging new voice: vivid, laconic, precise. Her 'Short Talks' are about everything from Sylvia Plath to Franz Kafka, from waterproofing to walking backwards; the brilliant long poem 'The Glass Essay' deals with the end of a contemporary love affair, but is haunted by the Brontë sisters. 
 
Blending the modern and the classical, Anne Carson writes with an intensity and an integrity that is transfiguring.

Glass And God

Since Glass and God, which was her first full-length collection published in Britain and which was nominated for the 1998 Forward Prize, Anne Carson has published a book a year to extraordinary critical acclaim. Her last two volumes, Autobiography of Red and Men in the Off Hours were both shortlisted for the T.S. Eliot Prize, and she has received numerous North American awards, including the prestigious MacArthur Fellowship. 
 
In her brilliant new book, she tells a single story. A long-time love, now a crumbling marriage, unfolds in 29 'tangos' of narrative verse, informed by the romanticism of Keats, the wisdom of the classical world and, most importatnly, by Carson's own unique sensibility. 
 
The unnamed narrator - sometimes 'I', sometimes 'the wife' - speaks of the man she calls only 'the husband', illuminating moments that are by turn sensual, erotic, painful and heartbreaking. The Beauty of the Husband is a work that explores these oldest of lyrical subjects - beauty, desire, love, betrayal - with freshness and devastating power. 
 
**ONE OF THE GUARDIAN'S 100 BEST BOOKS OF THE 21st CENTURY**

The Beauty Of The Husband

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

Matthew Sweeney

Negotiating the borders and hinterlands of Central and Eastern Europe - with occasional coracle trips or forays to Antarctica for a round of golf - the homesick flaneur surveys the surrounding devastation with the same mixture of fascination and alarm he feels when he discovers the sweat-mark on his T-shirt makes a perfect map of Ireland. All around, he sees natural and man-made catastrophe: the ruins and remnants of war peopled by kidnappers and assassins, feral dogs, death squads, the dispossessed and deracinated. 
 
These poems are parables of threat, parties for the end of the world; they speak eloquently of damage, displacement and the resulting swell of terror: 
 
'I looked back at the door 
heard the lock click, then beyond 
another lock, then another.'

Black Moon

Sharon Olds completes her cycle of family poems in a book at once intense and harmonic, playful with language, and rich with a new self-awareness and sense of irony. 
 
The opening poem, with its sequence of fearsome images of war, serves as a prelude to poems of home in which humour, anger, and compassion sing together with lyric energy - sometimes comic, sometimes filled with a kind of unblinking forgiveness. These songs of joy and danger - public and private - illuminate one another. As the book unfolds, the portrait of the mother goes through a moving revision, leading us to a final series of elegies of hard-won mourning. One Secret Thing is charged throughout with Sharon Olds's characteristic passion, imagination, and poetic power.

One Secret Thing

The poems in A Smell of Fish connect and radiate like the spokes of a wheel: haiku, sestinas, poems beginning with a line by somebody else or sparked off by foreign travel, a version of Dante, a sea sequence set on the Suffolk coast, and - long overdue - Matthew Sweeney's own version of the old Irish poem where his namesake is turned into a bird. 
 
In this, his seventh collection, we are back in a world where all explanations are withheld. 'If Beckett and Kafka come to mind', as Sean O'Brien wrote in his essay on Sweeney in The Deregulated Muse, 'they are not simply influences but kindred imaginations'. So we encounter a valley mysteriously filling with the smell of fish, second-world-war planes reappearing over London, a secret attic mural of a naked ex-lover, a cosmonaut abandoned on the moon, and a subterranean tunnel that runs the length of Ireland. 
 
Whatever the subject, we are in the confident hands of one of the most imaginatively gifted poets now writing.

A Smell Of Fish

Robert Bringhurst

For the past four decades, Robert Bringhurst has been writing some of the most powerful poetry in English. Distinguished by engaged and passionate curiosity, a wide-ranging intelligence and true originality, his poetry has sometimes been mistaken as austere and opaque. In fact, his work engages in ideas about the human condition, myth, the natural world, language and philosophy, and is unusual for having both a pared simplicity and profound wisdom. 
 
His watchword is clarity, and the elements he considers crucial to effective typography could just as easily be looked for - and found - in his poetry: 'invite the reader into the text; reveal the tenor and meaning of the text; clarify the structure and the order of the text; link the text with other existing elements; induce a state of energetic repose, which is the ideal condition for reading.' 
 
There is such relish for the tactile, physical nature of words, for spare, elemental imagery and for rhetorical weight - in the voice, and the sound of the voice - that each poem has a sense of gem-like purity. While Bringhurst's work may not be the most fashionable poetry being written today, it is certainly amongst the most compelling in its truth, power and beauty.

Jeanette Winterson

I can change the story because I am the story. 
 
With her execution looming, a woman is fighting for her life. Every night she tells a story. Every morning, she lives one more day. One Aladdin Two Lamps cracks open the legendary story of Shahrazad in One Thousand and One Nights to reveal new questions and answers we are still thinking about today. Who should we trust? Is love the most important thing in the world? Does it matter whether you are honest? What makes us happy? 
 
In her guise as Aladdin – the orphan who changes his world – Jeanette Winterson asks us to reread what we think we know and look again at how fiction works in our lives, giving us the courage to change our own narratives and alter endings we wish to subvert. As a young working-class woman, with no obvious future beyond factory work or marriage, Winterson realised through the power of books that she could read herself as fiction as well as fact. 
 
Weaving together fiction, magic and memoir, this remarkable book is a tribute to the age-old tradition of storytelling and a radical step into the future – an invitation to look more closely at our own stories, and to imagine the world anew.

One Aladdin Two Lamps

Adam Thorpe

Adam Thorpe's fifth collection finds purpose in the discarded, the secretive, the failed. Juxtaposing creation and destruction, hope and grief - a small boy deep down a lead mine; an unlit, nocturnal path set against the 'insomniac' motorway; industrialised apples against wrinkled windfalls - his poems argue for bewilderment and 'the slight bruise of doubt'. 
 
Whether walking an abandoned road or considering a friend's suicide, his poems remind us of our abdications, of our collapsed relationships with nature, with history, with ourselves. 
 
There are, however, all the vestiges of connective tissue - memories and mementoes, sudden, miraculous leaps of beauty. The book is full of such traces, delicate and fugitive: the poet's grandmother retrieved through her ninety-year-old bookmark of rose petals; the unvoiced suggestion of his mother's voice on an answerphone; the memory of a vanished native chief in a Canadian mountain's shadow...

Birds With A Broken Wing

From an abandoned rowing boat in Estonia full of wild flowers to a swimming pool in the Congo full of drowned insects, Adam Thorpe's new collection takes us on a wide-ranging journey through states of gain and loss, alienation and belonging. In the title poem, the poet disturbs a flock of geese by his mere presence, and one goose takes the wrong direction, away from the flock, as a 'voluntary exile'. A bid for freedom, or a mistake? 
 
These poems explore our chances, record our traces - in the marks on skin, home movies, stone walls, the pressure of our blood, or the clearing of a dying father's study: 'foraging backwards' until something is revealed, however tentative. As always in Thorpe's work, history's violence lurks in the margins: in the silent oppression of Roman roads, a polluting pipeline in Africa or the bombing of the Alcala train, he takes the gauge of our wider compulsions, of all that decides things for us. Against this he sets what, through the other meaning of 'voluntary', suggests chance's extempore music: the gleeful play of a sea-otter, the extraordinary gift of a passing gull to his small daughter, or poetry itself. 
 
Adam Thorpe is now celebrated as a novelist, but he began as a poet. Voluntary, his sixth collection, is a timely reminder of the elegance, skill and remarkable range of this most gifted British poet.

Voluntary

Peter Redgrove, who died in June 2003, was a friend and contemporary of Ted Hughes and Sylvia Plath and became one of the most celebrated and prolific post-war poets - regarded by many as a true visionary. 
 
The Harper, which gathers together his last poems, is a collection still charged with characteristic energy, eroticism and transforming imagination. Redgrove's language thrills with thunder, rain and electricity, the air heavy with perfumes and balsams, wasps and spiders - and reading these poems is uncannily like re-entering a dream. Peter Redgrove made us look at our world with fresh eyes, and he changed our perception forever.

Showing results for: ‘Michael Symmons Roberts’

Filters

Category

Publication Date

Format

Imprint

Follow penguin

Follow ladybird

Follow puffin

Sign up to the Penguin newsletter