Kirjahaku

Geoffrey Hill has said that some great poetry 'recognises that words fail us'. These essays explore Hill's struggle over fifty years with the recalcitrance of language. This book seeks to show how all his work is marked by the quest for the right pitch of utterance whether it is sorrowing, angry, satiric or erotic. It shows how Hill's words are never lightly 'acceptable' but an ethical act, how he seeks out words he can stand by - words that are 'getting it right'.This book is the most comprehensive and up-to-date critical work on Geoffrey Hill so far, covering all his work up to ‘Scenes from Comus’ (2005), as well as some poems yet to appear in book form. It aims to contribute something to the understanding of his poetry among those who have followed it for many years and students and other readers encountering this major poet for the first time.

Geoffrey Hill has said that some great poetry 'recognises that words fail us'. These essays explore Hill's struggle over fifty years with the recalcitrance of language. This book seeks to show how all his work is marked by the quest for the right pitch of utterance whether it is sorrowing, angry, satiric or erotic. It shows how Hill's words are never lightly 'acceptable' but an ethical act, how he seeks out words he can stand by - words that are 'getting it right'.This book is the most comprehensive and up-to-date critical work on Geoffrey Hill so far, covering all his work up to ‘Scenes from Comus’ (2005), as well as some poems yet to appear in book form. It aims to contribute something to the understanding of his poetry among those who have followed it for many years and students and other readers encountering this major poet for the first time.

Now in its fourth edition, Poetry: The Basics remains an engaging exploration of the exciting and diverse world of poetry. Jeffrey Wainwright’s accessible introduction demystifies poetic forms and traditions, which can at first seem bewildering.Drawing on examples ranging from Chaucer to children's rhymes, Cole Porter to Dylan Thomas, and from around the English-speaking world, it shows how any reader can understand and gain pleasure from poetry. This comprehensive guide explores poetry’s relationship to everyday language and introduces major genres and technical aspects. Each chapter proceeds through chronological examples from a wide range of English language poems. They cover all the major genres with informative studies of metre, rhyme, and stanza, showing how these features have developed through traditional to contemporary forms like rap. The book also features an exhaustive glossary to help imbed these technical terms and approaches.This clear and concise guide offers detailed insight into the nuts and bolts of poetry, as well as exploring its ability to inspire. It is a must-read for anyone interested in the art of poetry, whether as a reader, writer, or student.

Now in its fourth edition, Poetry: The Basics remains an engaging exploration of the exciting and diverse world of poetry. Jeffrey Wainwright’s accessible introduction demystifies poetic forms and traditions, which can at first seem bewildering.Drawing on examples ranging from Chaucer to children's rhymes, Cole Porter to Dylan Thomas, and from around the English-speaking world, it shows how any reader can understand and gain pleasure from poetry. This comprehensive guide explores poetry’s relationship to everyday language and introduces major genres and technical aspects. Each chapter proceeds through chronological examples from a wide range of English language poems. They cover all the major genres with informative studies of metre, rhyme, and stanza, showing how these features have developed through traditional to contemporary forms like rap. The book also features an exhaustive glossary to help imbed these technical terms and approaches.This clear and concise guide offers detailed insight into the nuts and bolts of poetry, as well as exploring its ability to inspire. It is a must-read for anyone interested in the art of poetry, whether as a reader, writer, or student.

Now in its third edition Poetry: The Basics remains an engaging exploration of the world of poetry. Drawing on examples ranging from Chaucer to children's rhymes, Cole Porter to Carol Ann Duffy, and from around the English-speaking world, it shows how any reader can understand and gain more pleasure from poetry. Exploring poetry’s relationship to everyday language and introducing major genres and technical aspects in an accessible way, it is a clear introduction to how different types of poetry work through the study of details and of whole poems. With a revised chapter on the different practices and ideas in the writing of poetry now, including sections on film poetry and digital poetics, this is a must read for all students of English Literature.

As Best We Can, Jeffrey Wainwright's seventh collection, marks a change of key for the poet. After the elegiac tone of The Reasoner (2016), the poems and sequences included here settle for the poet's present world. They listen to what dreams have to tell, and (with humour underwriting their concentration) they worry at the labour and release of creative work. As always in Wainwright, history - personal and political - is alive in the present. The rendering of simple elements in 'The Window-Ledge', without commentary, is among his most lucid and radical poems. By effacing the 'I' he shares experience most fully with the reader, making and sharing a place.

We are still here on earth. With a troubled sense of wonder, Jeffrey Wainwright's new book witnesses to that earth's ordinariness, profusion and mystery. The collection begins with his beginning, a poem that evokes his own birth: 'Here I Come'. He concludes inevitably with 'Here I Go'. In between are poems that describe and contemplate on the variety of life, ranging from a fleeing mouse to geology and gravity. History features, as so often in his poetry, with the earth's transition from inanimate matter to the fearsome and various place we know. There is a sequence on contemporary Manchester, another on the domestic and wider presence of coal, and a series on the iniquities of the British Empire – histories that connect and contend with one another. Describing this last sequence, Shirley Chew notes the poet's 'preoccupation with words and history', his 'self-reflexive wit' and the 'wry look' he takes at the poet's art itself. He is a master of tones of voice, of registers, of patterns and rhythms, and his characteristic inventiveness is everywhere to be found in this book which touches on so many timely and timeless concerns Here on Earth.