|Peter Robinson Collected Poems 1976-2016|
Published February 2017. Paperback, 518pp, 9 x 6ins, £19.95 / $32
Collected Poems 1976–2016 gathers carefully chosen and reviewed texts from Peter Robinson’s nine books of poetry, to which is added a newly completed tenth collection. They include his early experiments in northern social realism, and domestic interiors coloured by the experience of sexual violence, explored in the seven lyrics that form part two of This Other Life. Here are his dialogues with Italian poetry and culture, and unforeseen encounters with Japan, all in relation to the historical vicissitudes of his home country, and the landscapes in a much-revisited Liverpool. For the Small Mercies, published here for the first time, completes a triptych of books written since Robinson’s return after nearly two decades of working in Kyoto and Sendai, a return that, coinciding with the global financial crisis and onset of austerity culture, provided occasions for further reflections on the economic motifs of his earliest poems.
|Elaine Randell The Meaning of Things|
Published February 2017. Paperback, 134pp, 8.5 x 5.5ins, £9.95 / $18
‘Elaine Randell’s writing was jump-started early by the outpouring of experimental small-press poetry and publishing that accompanied the emergence of pop art. That movement drew attention to the art–life divide by reducing it to a sharp but casual edginess. The poetry associated with this moment adopted informal means to freshen its reader relations across the same frontier. Randell’s subsequent career in social work and psychotherapy has found her firmly on the side of life. The poems in The Meaning of Things, though making no such claims for their acts, are alive with the clear feeling, ethical tact, and rhythmical skill required to move rapidly back and forth along that borderline.’ —Peter Robinson
|Mervyn Taylor Voices Carry|
Published February 2017. Paperback, 100pp, 9 x 6ins, £9.95 / $17
The Master Portrait Painter, Mervyn Taylor, is visiting his old haunts, the island he has sketched time and again with indelible ink, the Brooklyn of his residence in exile, and the journey back and forth, the poet returning to fill up his paint bottles, to recount the stories of voices that carry from dreams, memories, the Port of Spain that has changed forever and yet remains the city that is his own.
In this new collection, that is at the same time as old as the eternal truths he tells, we celebrate the voices the poet hears: we see him walk beside the Savannah, people calling out, hello Uncle, Daddy; we lament the turning of green places into dangerous fields, and we cry quietly while accompanying “the boy walking with his broken kite/to find the old Indian who bought him/the thread, to tell him how well it flew.”
|Richard Georges Make Us All Islands|
Published February 2017. Paperback, 86pp, 9 x 6ins, £9.95 / $17
"Singing ‘light into bleakness,’ in vivid poetic language that shakes us out of apathy, Georges’ harsh and lyrical hymns portray the painful beauty of the Virgin Islands and Caribbean archipelago. Searching wherever indelible traces of history may be found, in the undersea abyss of multiple shipwrecks, cholera coasts, accounts of disaster and cruel murder, hillside ruins, heaps of stones, and shifting sands, the poet brings us ancestral stories of the women of the slave ships, fishermen, migrant seasonal workers, cane cutters, cocolos, coal burners, domino players and family members who at great cost and risk have endured. If history divides us, these poems of the past and present, as strong as boiling bush and as honest as jumbie truths, have the power to revive, and, perhaps, even, connect us." —Loretta Collins Klobah
|Alfred Celestine Weightless Word — Selected Poems|
Edited by David Miller & Richard Leigh
Alfred Celestine was born in Los Angeles in 1949 and came to London in 1977, remaining there until his death in 2009. He published two books of poetry: Confessions of Nat Turner (The Many Press, 1978) and Passing Eliot in the Street (Nettle Press, 2003). Weightless Word is easily the most comprehensive selection of his poetry to date, revealing his range and power as a poet.
|John Muckle Falling Through — a novel|
Published February 2017. Paperback, 232pp, 8.5 x 5.5ins, £12.95 / $20
Graham Bartlett is a private English tutor. He lives in North London and travels to meet numerous teenage clients. He is a lonely person, unable to find steady work, but does his best to survive and deliver sound lessons to a large number of youngsters, diving in and out of their homes with a battered satchel on his shoulder, glimpsing their families and backgrounds. Browsing the internet he discovers an unpleasant murder has occurred in the quiet suburban avenue where he grew up. The horrific discovery of a woman’s callously disposed-of body half-interests him whilst seeming to have little to do with his own life, apart from accidents of place and memory. Intertwined with his peripatetic journeys across a cityscape marked by recent riots are the stories of people he has known, or imagines, or has actual dealings with in the present.
Falling Through is a novel of encounters and evasions: north of the Thames, south of hell.
|Gerard Manley Hopkins The Wreck of the Deutschland|
Commentary and Notes by Nigel Foxell.
This volume contains the complete text of the great Hopkins poem, together with Nigel Foxell's introduction and his copious notes, touching on nearly every line in the poem. An indispensable reader's guide to one of the great poems in the language.
‘The Wreck of the Deutschland’‚ deserves and requires close and subtle attention from the imagination and intellect of critics. A new generation of readers will be grateful to Nigel Foxell, poet, novelist and scholar, for the diligence and love he has brought to bear on this formidable task.
|Kelvin Corcoran Facing West|
Published March 2017. Paperback, 84pp, 9 x 6ins, £9.95 / $17
"Facing West achieves true illuminations of the places and uses of myth. Corcoran’s lines balance impressively between sometimes cryptic, aphoristic phrases and an orality encountered in song – and in great poetry. Several poems are almost like screens with a critical or philosophical text behind them; and the verse emerges stranger, and stronger, for the incidents in other books it points us to… The overall edifice in Facing West allows entrances by prose passages – often, apparently, autobiographical; also talismanic insertions from other tongues, sometimes acronyms and street names. Yet, these often fragmentary structures develop as an experiment in narrative across separate sections, they work as a book. And in the end, nothing feels out of place.
|John Hall As a said place|
Published March 2017. Paperback, 86pp, 8.5 x 5.5ins, £9.95 / $17
blink / and the outline is lost
As a said place gathers together poems written since 2011. The book is shaped around ‘I’m on the Train’, a sequence prompted by and on a repeated train journey from home to work through parts of Devon and Cornwall. It returns to the spirit of John Hall’s early book, Days. In each case the poems arise from the contingencies of the everyday and respond to the language demands that these seem to make. Before and after this sequence are clusters of individual poems … [a]ll the poems share a sense that poetry, among its other qualities, is also a mode – or a set of modes – of thinking: the saying of the world continues to matter, as does its unsaying, and that this by no means brings ease: the broken lines that constitute poetry negotiate ambivalent relations with the continuities of speech, with syntax, with the carefulness of thought.
|Clive Faust Past Futures — Collected Poems|
Published March 2017. Paperback, 304pp, 9 x 6ins, £14.95 / $25 / A$ 32
“Back forty years ago I wrote of The Gist of Origin: ‘In such a bare age as ours, the truth, though terrible, is clean. The worlds of Chaucer, Homer and Tolstoy were conventionally realized ones—even if the men in them shifted between realizations, incorrigibly. We now are in the same ferry as these chaotic Americans: we have no fixities to shift among. The only order they bring with them—and it is not nothing—is an economy of means.
Ultimately the variety—of place, of instance, of event, of impression is deceptive. Also the enormous amount to be learnt from them, deceptive—because it is all the one thing. And the one thing is terrible, because it is unclear whether it is not ourselves.’
I think this era of thought/feeling is now obsolete in the culture, which is now based upon a sort of decorative wit—adapted for the computerex machinery, but on the
way to being mechanically replicated by it.
Incidentally, the prosody of this perhaps outdated poetry is based at its best upon simply 'the taste of words, the pleasure of utterance as a physical act', in the words of Cid Corman." —Clive Faust