Adam Thorpe

From the legends of King Arthur embedded in the rocky splendour of Tintagel to the folklore and mysticism of Stonehenge, English Heritage sites are often closely linked to native English myths. Following on from the bestselling ghost story anthology Eight Ghosts, this new collection of stories inspired by the legends and tales that swirl through the history of eight ancient historical sites. Including an essay by James Kidd on the importance of myth to our landscape and our fiction, and an English Heritage survey of sites and associated legends, These Our Monsters is an evocative collection that brings new voices and fresh creative alchemy to our story-telling heritage. Author and atmospheric locations include: Edward Carey - Bury St Edmunds AbbeySarah Hall - Castlerigg and other stone circlesPaul Kingsnorth - StonehengeAlison MacLeod - Down HouseGraeme Macrae Burnet - Whitby AbbeySarah Moss - Berwick CastleFiona Mozley - Carlisle CastleAdam Thorpe - Tintagel Castle With original black-and-white illustrations by Clive Hicks-Jenkins

Silbury Hill in Wiltshire has perplexed people for generations. Was it once an island, moated by water? Was it a place of worship, of ritual, of celebration, perhaps a way of marking the seasons' passing? Along with Stonehenge and nearby Avebury, was it part of a healing landscape or a physical memory of the long dead? In On Silbury Hill, Adam Thorpe posits that the mysterious hill is the sum of all we project onto it - a blank screen where human dreams and nightmares flicker. The hill has been a part of Thorpe's life since his schooldays at Marlborough, a place he could escape to. Since then, wherever he has lived, in England, France and to Cameroon, Thorpe has carried Silbury with him. Now, thirty years after the publication of his landmark novel Ulverton, he returns once more to the landscape that inspired him, creating a monumental chalkland memoir, assembled from fragments, skilfully built from the ancient past. A tenth anniversary paperback edition with a new jacket.

From the legends of King Arthur embedded in the rocky splendour of Tintagel to the folklore and mysticism of Stonehenge, English Heritage sites are often closely linked to native English myths. Following on from the bestselling ghost story anthology Eight Ghosts, this new collection of stories inspired by the legends and tales that swirl through the history of eight ancient historical sites. Including an essay by James Kidd on the importance of myth to our landscape and our fiction, and an English Heritage survey of sites and associated legends, These Our Monsters is an evocative collection that brings new voices and fresh creative alchemy to our story-telling heritage. Author and atmospheric locations include: Edward Carey - Bury St Edmunds AbbeySarah Hall - Castlerigg and other stone circlesPaul Kingsnorth - StonehengeAlison MacLeod - Down HouseGraeme Macrae Burnet - Whitby AbbeySarah Moss - Berwick CastleFiona Mozley - Carlisle CastleAdam Thorpe - Tintagel Castle With original black-and-white illustrations by Clive Hicks-Jenkins

Adam Thorpe’s home for the past 25 years has been an old house in the Cévennes, a wild range of mountains in southern France. Prior to this, in an ancient millhouse in the oxbow of a Cévenol river, he wrote the novel that would become the Booker Prize-nominated Ulverton, now a Vintage Classic. In more recent writing Thorpe has explored the Cévennes, drawing on the legends, history and above all the people of this part of France for his inspiration. In his charming journal, Notes from the Cévennes, Thorpe takes up these themes, writing about his surroundings, the village and his house at the heart of it, as well as the contrasts of city life in nearby Nîmes. In particular he is interested in how the past leaves impressions – marks – on our landscape and on us. What do we find in the grass, earth and stone beneath our feet and in the objects around us? How do they tie us to our forebears? What traces have been left behind and what marks do we leave now? He finds a fossil imprinted in the single worked stone of his house’s front doorstep, explores the attic once used as a silk factory and contemplates the stamp of a chance paw in a fragment of Roman roof-tile. Elsewhere, he ponders mutilated fleur-de-lys (French royalist symbols) in his study door and unwittingly uses the tomb-rail of two sisters buried in the garden as a gazebo. Then there are the personal fragments that make up a life and a family history: memories dredged up by ‘dusty toys, dried-up poster paints, a painted clay lump in the bottom of a box.’ Part celebration of both rustic and urban France, part memoir, Thorpe’s humorous and precise prose shows a wonderful stylist at work, recalling classics such as Robert Louis Stevenson’s Travels with a Donkey in the Cévennes.

These remarkable poems are despatches from the edges of experience: from the remote coast of northern Iceland where tree-trunks and dead whales lie beached, to the furthest outposts of the Roman empire in the title poem – ‘From the very limit of the world,/Flavius sends you greetings, my lord.’ The collection is concerned with borders and brinks – the liminal spaces where distinctions blur between outer and inner, known and unknown, between what is familiar and what is other. This is the terrain of the displaced and deracinated but also the shimmering space where all is volatile, mutable, in flux – and it is also, of course, the thin, transparent veil between waking and sleep, between life and death.Shadowed by mortality, lit by lyrical grace, Words from the Wall includes poems about the killing fields of Agincourt, Flanders, Vietnam and a memorial poem to the victims of the 2015 Bataclan attack where the dead are ‘stations of flame’, and it begins and ends at the boundaries of the Roman territory, at the edge of life: ‘The girls I laughed with once/in the baths’ atrium/are withered and wattle-necked./I love them still…’

'An intricately crafted novel, sharp-eared, current and full of heart' Guardian, Books of the YearA spirited fourteen-year-old, Fay, goes missing from a Lincoln council estate. The story of her last few days before she vanishes is interwoven with the varied lives of six locals â?? all touched in life-changing ways.

Twenty years after the publication of his classic novel Ulverton, the acclaimed poet and novelist Adam Thorpe revisits the landscape which inspired him. Silbury Hill in Wiltshire has perplexed people for generations. Was it once an island, moated by water? Was it a place of worship and celebration, perhaps a vast measure of the passing seasons? Along with Stonehenge and Avebury, was it part of a healing landscape or a physical memory of the long-ago dead? Silbury Hill is the sum of all that we project. A blank screen where human dreams and nightmares flicker. The hill has been part of Adam Thorpe's own life since his schooldays at Marlborough, which he would often escape in the surrounding downlands. He has carried Silbury ever since, through his teenage years in Cameroon, into his adulthood in England and France: its presence fused to each landscape which became his home.On Silbury Hill is Adam Thorpe's own projection onto Silbury's grassy slopes. It is a chalkland memoir told in fragments and family snapshots,skilfully built, layer on layer, from Britain's ancient and modern past.

It is April 1945, and the historic town of Lohenfelde is about to be overrun by the Allied Third Army. Huddled in the vaults of the Kaiser-Wilhelm Museum are Heinrich Hoffer and his three colleagues. Their petty rivalries and resentments surface quickly in this claustrophobic confinement as the four prepare themselves for their fate. Above the ground, picking through the rubble, is Corporal Neal Parry, who wishes he was back in West Virginia studying art. When he finds an exquisite painting in what remains of the museum vaults, he is immediately reconnected with a lost world of beauty and order. It is this small 18th-century oil that is the poignant link between the young American soldier and the four charred corpses he finds at the same time. As the narratives interweave, the story of the painting reveals the hidden story of Herr Hoffer and his three associates - and in doing so uncovers other, darker mysteries.

Bob Winrush was a freight dog, flying consignments of goods and sometimes people to all the corners of the world. Until, one day, he walked away from a deal that didn't smell right - something a 'freight dog' should never do. Now working as a private pilot for an Emirate prince in Dubai, he finds that moment of refusal catching up with him.

Immerse yourself in the stories of Ulverton, as heard on BBC Radio 4 Book at Bedtime'Sometimes you forget that it is a novel, and believe for a moment that you are really hearing the voice of the dead' Hilary MantelAt the heart of this novel lies the fictional village of Ulverton.

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.

Who was Robin Hood? Romantic legend casts him as hero of the people, living in Sherwood Forest with Friar Tuck, Little John and Maid Marian. This title describes his time as a boy in the greenwood with a half-crazed bandit Robert Hodd - who, following principles of the 'heresy of the Free Spirit', believes himself above God and beyond sin.

The poems in Adam Thorpe's latest collection are concerned with the continuum between two worlds: the lived present and the felt past. With the attentive care of an archaeologist he uncovers and examines fragments - from a personal history or the historic past - and rebuilds the narrative: a fossil in Hitler's stadium, a wedding photograph, marks on the wall where an eighteenth-century priest was shot. With formal dexterity and rhythmic assurance, these versatile, subtle poems investigate the vertiginous dynamic of history - where a shard of stone stands for civilisation, where a silver of memory becomes a life re-lived. After nine years, during which time he has emerged as one of Britain's most powerful and innovative novelists, Adam Thorpe now returns - triumphantly - to poetry.

Two Cambridge academics, the historians Nick and Sarah Mallinson, take a sabbatical with their three small and lively girls in a remote Languedoc farmhouse. But the farmhouse contains its own histories, far darker and murkier than the Mallinsons are used to dealing with.

Jack Middleton, once 'England's most promising young composer' now lives comfortably in Hampstead with his wife Milly, an heiress. Jack is no longer young nor has he ever quite fulfilled his remarkable promise.

Presents a collection of stories that expose the characters' deepest desires, their catastrophic fears, and their perilous frailty in the face of the responsibilities they carry.

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...

On April 3, 1945, the advancing American army shells the historic town of Lohenfelde, and the Kaiser-Wilhelm museum. Within the museum's vaults, Heinrich Hoffer is hiding from the bombardment, and trying to keep a priceless Van Gogh from falling into the hands of a rogue Nazi. After the shelling, an American corporal, Neal Parry, finds a beautiful eighteenth-century oil painting in the rubble, and must confront both its beauty, and the morality of stealing it. The stories of Herr Hoffer, Parry, and their paintings unfold simultaneously in this gripping, brilliantly structured novel about art and war.

Set in 1968 in the Parisian suburbs, No Telling is narrated by twelve-year-old Gilles as he approaches his Solemn Communion, puberty, and some sense of the chaos around him.

Adam Thorpe's fourth collection continues his engagement with history: the living continuum that connects us with our near and distant past, nourishing and illuminating our present. Here are traces left of presence: Indian scratchings on rock, the nail-marks of destroyed frescoes, spoken fragments of war memories - petroglyphs that function as both memorials and re-awakenings, traceable with the finger of the imagination. And here, too, are images of the stilled, the stopped life: a snowed-up village, the paralysed victim of motor-neurone disease, a soft drink fermented in an old village cafe. From this rueful equilibrium of mid-life, Thorpe circles his own personal history, allowing regret and anticipation their Janus-like say. These are erudite, generous poems, formally versatile yet rich in startlingly original observation and a natural lyric grace. Performing his unique archaeology on lives lived, Adam Thorpe once again displays the range of his imagination and the depth of his humanity.