Kirjahaku

Percy Bysshe Shelley (1792-1822) was born in Sussex and died in Italy when his sailing boat overturned while returning from a visit to Byron. A radical thinker and social campaigner, Shelley wrote some of the finest lyric verse in the English language which confirms his standing as a major figure in Romantic literature.In this series, a contemporary poet selects and introduces a poet of the past. By their choice of poems and by the personal and critical reactions they express in their prefaces, the editors offer insights into their own work as well as providing an accessible and passionate introduction to some of the greatest poets of our literature.

This is a book of enthusiasms: an intelligent and witty map of contemporary British poetry and a radical, accessible guide to living British poets, grouped for the first time according to the kind of poetry they write.

Deep in limestone country, at the corner of Wiltshire, Oxfordshire and Gloucestershire, lies the village of Coleshill.This haunting new collection from Fiona Sampson is a portrait of place, both real and imaginary; a dreamscape with its roots deep in the local soil.The poems hum with an evocative music of their own: there are hymns of the orchards, verses for walkers, songs for bees. These are slices of life and states of mind; poems of grief, fears and maledictions, but also of renewal, resurrections and the promise of spring.Coleshill emerges as a “parish of sun / and shade”; its darkness and light perfectly balanced. From the T.S. Eliot and Forward Prize shortlisted poet comes a deep, interrogative collection of astonishing clarity and power.

"How do I love thee? Let me count the ways." With these words, Elizabeth Barrett Browning has come down to us as a romantic heroine, a recluse controlled by a domineering father and often overshadowed by her husband, Robert Browning. But behind the melodrama lies a thoroughly modern figure whose extraordinary life is an electrifying study in self-invention.Born in 1806, Barrett Browning lived in an age when women could not attend a university, own property after marriage, or vote. And yet she seized control of her private income, defied chronic illness and disability, became an advocate for the revolutionary Italy to which she eloped, and changed the course of cultural history. Her late-in-life verse novel masterpiece, Aurora Leigh, reveals both the brilliance and originality of her mind, as well as the challenges of being a woman writer in the Victorian era. A feminist icon, high-profile activist for the abolition of slavery, and international literary superstar, Barrett Browning inspired writers as diverse as Emily Dickinson, George Eliot, Rudyard Kipling, Oscar Wilde, and Virginia Woolf. Two-Way Mirror is the first biography of Barrett Browning in more than three decades. With unique access to the poet's abundant correspondence, "astute, thoughtful, and wide-ranging guide" (Times UK]) Fiona Sampson holds up a mirror to the woman, her art, and the art of biography itself.

"How do I love thee? Let me count the ways." With these words, Elizabeth Barrett Browning has come down to us as a romantic heroine, a recluse controlled by a domineering father and often overshadowed by her husband, Robert Browning. But behind the melodrama lies a thoroughly modern figure whose extraordinary life is an electrifying study in self-invention.Born in 1806, Barrett Browning lived in an age when women could not attend a university, own property after marriage, or vote. And yet she seized control of her private income, defied chronic illness and disability, became an advocate for the revolutionary Italy to which she eloped, and changed the course of cultural history. Her late-in-life verse novel masterpiece, Aurora Leigh, reveals both the brilliance and originality of her mind, as well as the challenges of being a woman writer in the Victorian era. A feminist icon, high-profile activist for the abolition of slavery, and international literary superstar, Barrett Browning inspired writers as diverse as Emily Dickinson, George Eliot, Rudyard Kipling, Oscar Wilde, and Virginia Woolf. Two-Way Mirror is the first biography of Barrett Browning in more than three decades. With unique access to the poet's abundant correspondence, "astute, thoughtful, and wide-ranging guide" (Times UK]) Fiona Sampson holds up a mirror to the woman, her art, and the art of biography itself.

WINNER OF THE WALES POETRY BOOK OF THE YEAR AWARD 2021Winner of the Naim Frashëri Laureateship of Albania and Macedonia Winner of the European Lyric Atlas Prize 'Fiona Sampson's voice is something new and it's a delight to hear it . . . A joy to read' W. S. MerwinQuestions of humanity, of point of view, are at the heart of Fiona Sampson's new collection, Come Down.Throughout, Sampson's poems shimmer between the human perspective and what is beyond - some larger, longer-term consciousness. Language runs and dances over the stuff of the human body and the material of the landscape. And yet, despite these radical perspective shifts, the collection keeps in sight, always, the human experience: the act of creation; the way in which childhood memory and family lore impinge on the present. Come Down ends with a long, eponymous poem, which moves fluidly and brilliantly through different forms of memory.

We think we know the Romantic countryside; it has become the stuff of cliche. Here, renowned biographer and poet Fiona Sampson explores how Romanticism shaped the British countryside and our attitudes to it,via series of ten walks through the British landscape, punctuated by the author's vivid and personal reflections.

Leading poet, critic and former musician explores the 'deep forms' common to both poetry and musicToday, poetry and art music occupy similar cultural positions: each has a tendency to be regarded as problematic, 'difficult' and therefore 'elitist'. Despite this, the audiences and numbers of participants for each are substantial: yet they tend not to overlap. This is odd, because the forms share early history in song and saga, and have some striking similarities, often summed up in the word 'lyric'. These similarities include much that is most significant to the experience of each, and so of most interest to practitioners and audiences. They encompass, at the very least: the way each art-form is aural, and takes place in time; a shared reliance on temporal, rather than spatial, forms; an engagement with sensory experience and pleasure; availability for both shared public performance and private reading, sight-reading and hearing in memory; and scope for non-denotative meaning.In other words, looking at these elements in music is a way to look at them in poetry, and vice versa. This is a study of these two formal craft traditions that is concerned with the similarities in their roles, structures, projects and capacities.Key FeaturesSets out a new way to think about both music and poetry Doesn't make its arguments from within or for one particular school of music or poetry but has wide applicability Uses each 'cousin' art-form to cast light on the other as a whole: it is not just for poet-musicians, or musicians writing for voiceArare 'joint' perspective: written by an award-winning poet who was formerly a professional musician

How is the new generation of British Muslims navigating relations across three distinct religious and social worlds? This book looks at how they are balancing expectations from traditional Islam imported from their ancestral homeland, expressions of Islam drawn from across the global Muslim community the Ummah and from Britain itself.

My friends will respect me, I hope, just as much under my jacket as under my dress. Be reassured, I do not aspire to the dignity of man. It seems to me too laughable to be much preferable to the servility of woman. But I claim to possess, today and forever, the superb and complete independence which you alone believe you have the right to enjoy. So take me for a man or a woman as you wish.

SHORTLISTED FOR THE SLIGHTLY FOXED BEST FIRST BIOGRAPHY AWARD 2018 'If we get another literary biography in 2018 as astute and feelingful as this one, we shall be lucky.' - John Carey, Sunday Times Mary Shelley was brought up by her father in a house filled with radical thinkers, poets, philosophers and writers of the day. Aged sixteen, she eloped with Percy Bysshe Shelley, embarking on a relationship that was lived on the move across Britain and Europe, as she coped with debt, infidelity and the deaths of three children, before early widowhood changed her life forever. Most astonishingly, it was while she was still a teenager that Mary composed her canonical novel Frankenstein, creating two of our most enduring archetypes today. The life story is well-known. But who was the woman who lived it? She's left plenty of evidence, and in this fascinating dialogue with the past, Fiona Sampson sifts through letters, diaries and records to find the real woman behind the story. She uncovers a complex, generous character - friend, intellectual, lover and mother - trying to fulfil her own passionate commitment to writing at a time when to be a woman writer was an extraordinary and costly anomaly. Published for the 200th anniversary of the publication of Frankenstein, this is a major new work of biography by a prize-winning writer and poet.

Fiona Sampson’s latest collection transforms the sensory world into an astonishingly new and vivid poetry. Here, dream and myth, creatures real and imagined, and the sights and sounds of ‘distance and of home’ all coalesce in a sustained meditation on time and belonging. Combining formal sophistication with metaphysical exploration, this is an incandescent work of renewal, beauty and risk.

Shortlisted for the 2022 Plutarch Award A Washington Post 2021 Non-Fiction Book of the Year New York Times Review of Books Editors' Choice Non-Fiction Title Longlisted for the 2022 PEN / Jacqueline Bograd Weld Award for Biography A Sunday Times Best Paperback of 2022 'Brilliant, heart-stopping ... reads like a thriller, a memoir and a provocative piece of literary fiction all at the same time ... magical and compelling' Washington Post 'How do I love thee? Let me count the ways,' Elizabeth Barrett Browning famously wrote, shortly before defying her family by running away to Italy with Robert Browning. But behind the romance of her extraordinary life stands a thoroughly modern figure, who remains an electrifying study in self-invention. Elizabeth was born in 1806, a time when women could neither attend university nor vote, and yet she achieved lasting literary fame. She remains Britain's greatest woman poet, whose work has inspired writers from Emily Dickinson to George Eliot and Virginia Woolf. This vividly written biography, the first full study for over thirty years, incorporates recent archival discoveries to reveal the woman herself: a literary giant and a high-profile activist for the abolition of slavery who believed herself to be of mixed heritage; and a writer who defied chronic illness and long-term disability to change the course of cultural history. It holds up a mirror to the woman, her art - and the art of biography itself.

This book is really a must-have for therapists and others in the creative arts, so that you can see how the workings of the human mind can be displayed through the arts. Even with serious illness, the mind can talk. And that is the point of the book'.- Metapsychology Online Book Reviews'The references cited at the end of each chapter are instructive and useful with some contributors drawing on memoirs and creative work and others on textbooks and papers. As Fiona points out in her introduction, those with an interest in the field - which includes clinicians, patients, arts managers, psychotherapists, writers, occupational therapists, teachers - I am sure you can add to the list - inevitably speak different languages, reflecting their different priorities. I agree with her argument that this contributes to a healthy diversity of practice that may offer "something for everyone" and we should resist narrow definitions. The challenge for those of us in the field is to locate ourselves on this strange and exciting map and to chart our own experiences in whatever languages are appropriate. Conferences, such as Strange Baggage and the increasingly popular Lapidus annual event provide an excellent opportunity to journey beyond our usual borders to exchange travellers' tales with our colleagues'. - Lapidus'An incisive collection of essays and case studies, where theory is applied to practical goals: working out methods for how to help and understand those with problems threatening their sanity or stability. Creative expression can contribute to personal and community health.' - Writing in Education'Creative Writing in Health and Social Care is full of experience of working with patients with dementia, hospital, hospice and occupational therapy patients, and those in primary care. This is innovative work - deeply helpful to the patients, illuminatively described.'- The British Journal of General PracticeThis unique and comprehensive 'map' of the topic of creative writing in health and social care brings together contributions from health and social care professionals and provides the information needed to teach, counsel and write. Principally exploring poetry and story writing and telling, case studies range from work with pre-literate children in post-war Macedonia to people with dementia in Britain. Complementing these insights, theory-based contributions provide context, comparing different arts therapies using psychoanalytic and phenomenological theories of art and ideas, assessing the value of creative writing in a health care setting, examining methods of training therapists and looking at the aims of creative writing in terms of self development. This holistic approach ensures that Creative Writing in Health and Social Care is an essential guide for health care professionals and others seeking to use creative writing in therapeutic settings.

On Listening is a collection of essays on poetry, written for various occasions over the last few years. Ranging from scholarly papers to literary non-fiction, critical writing to lectures, each allows a different way in to the book’s central preoccupation. On Listening is concerned, centrally, with the nature of poetic practice. Using both philosophy of language and an editor’s literary ear, theory and the author’s own experience as a poet, this book examines good writing practice from the inside out; and asks how it can be developed: by teaching and community facilitation, by reading and travelling and, where those two interests come together, in translation. After an introductory essay which sets the scene by looking at contemporary British poet-critics, the book is divided into four sections – ‘Translating’, ‘Travelling’, ‘Teaching’ and ‘Reading’ – though its thesis suggests these categories are linked. An Epilogue reflects on ‘The Ephemeral’. ‘Translating’ looks at the nature of that practice and its context, with particular reference to the writer’s work with Central European literature. Included is a set of ‘reviews’ of exemplary translations. ‘Travelling’ explores issues of cultural translation: whether those originate in the geographical or between discursive cultures. ‘Teaching’ draws on more than a dozen years’ experience in universities, schools and, particularly, in pioneering writing in health and social care, to explore the differences between community and education practice. It looks closely at questions of evaluation, ethics and purpose. ‘Reading’ surveys some of the writer’s personal poetic enthusiasms, with particular stress on writing from beyond Britain and by women. On Listening is an indispensable vade mecum for teachers and students of creative writing; it is also, however, a topical read for anyone concerned with the state of poetry in Britain today.

'Rough music' is the old English name for a custom of public scapegoating. This is a book full of disturbing musical echoes, in which brilliant renewals of carol, charm, folksong and ballad explore themes of violence, loss and belonging. Fiona Sampson's characteristic lyric intensity deftly fuses metaphysics and politics with the vernacular of daily life.

In this innovative series of public lectures at Newcastle University, leading contemporary poets speak about the craft and practice of poetry to audiences drawn from both the city and the university. The lectures are then published in book form by Bloodaxe, giving readers everywhere the opportunity to learn what the poets themselves think about their own subject. It's almost a cliche that music and poetry are cousins, and that the term lyric names this cousinship. Yet the actual forms music takes within poetry are unclear, even contested. At the same time, our assumptions about these forms condition the ways we hear poetry. So it's useful to us as both readers and writers to discover where the analogies between music and poetry are. Fiona Sampson's Music Lessons outlines some of these, using ideas and examples from Martin Heidegger to J.S. Bach, Emily Dickinson to Leonard Cohen, and George Herbert to Julia Kristeva. Her first lecture, Point Counter-point, uses melody to suggest a link between poetic line, phrase and breath. Here is my space explores how pureA", abstract forms can be created in time in the same way that they are created in space. Finally, How strange the change looks at sensuous apprehension and the pleasure principle.

By turns sensual and incantatory, "Common Prayer" offers a liturgy for a world in crisis. Meditations on the actuality of sickness and bereavement move outward through narratives of the broken body of Europe's violent twentieth century. Challenging and exploratory, Fiona Sampson's poetry remakes the spiritual and physical metaphors by which we live.

Limestone Country is a perceptive, lyrical evocation and investigation into four landscapes in Europe and beyond. Seemingly disparate these places are bound together by their limestone geology, by personal experience and Fiona Sampson's unique imagination. Limestone Country delves deep into the heart of these landscapes: the people, wildlife and culture, told through vivid snapshots of daily life, farming routines and encounters with the wild. It is a meditation on the meaning of place, how we shape it and how it shapes us.