Dikt

In the early seventeenth century, Spanish rulers were confronted by an avalanche of political satires. Beware the Poetry shows how these poetic libels helped articulate an early form of the public sphere, profoundly transforming political culture. Exploring a rich trove of mostly anonymous satirical works, together with newsletters, sermons, and plays, Javier Castro-Ibaseta reconstructs the experiences of Madrilenians during the reigns of Philip III and Philip IV. Castro-Ibaseta proposes an original theory of political publics that corrects approaches that assume early modern Spain's public sphere mirrored the politics of England or France. Instead, he shows that in Spain publicness was distinct because the satires-about the king's favorite, and even about the king himself-were consumed for pleasure and entertainment. But they did not create political communities or stir rebellious movements. Read diachronically, the long, continuous, evolving collection of satires reveals not just the opinions of the poets but something far more difficult to reconstruct: the shifting demands, interests, uncertainties, and worldviews of the audience-that is, the structure and dynamics of Madrid's emerging public sphere. Applying an interdisciplinary approach of literary criticism and historical method, Beware the Poetry presents an exciting new take on politics and poetry during the period often referred to as the Spanish Decadence. It will be of special interest to scholars of early modern politics and Spanish literature and culture.

This rich and wide-ranging anthology is the second in a series produced by the Peepal Tree/Inscribe Readers and Writers Group. Edited by Jacob Ross, the book contains work by previously published and debut writers.

Poetry. As three worlds collide, a mother's Philippines, a father's India and the poet's contemporary America, the resulting impressions are chronicled in this collection of incisive and penetrating verse. The writer weaves her words carefully into a wise and affecting embroidery that celebrates the senses while remaining down-to-earth and genuine. "We see that everything is in fact miracle fruit, including this book itself"-Andrew Hudgins.

A bold reimagining of Fernando Pessoa's poetry into a mixed dialect of Scots and English by an exciting next-generation, prize-winning Scottish poet.

Tom Raworth's long-lost 1971 book is published at long last.

Jeremy Over's fourth Carcanet collection is an exuberant book of experimental poetry tracking the movements of a happily wandering mind.

Delving into the landscapes and politics of 20th and 21st century Yorkshire, Modern and Contemporary Yorkshire Poetry asks: what is Yorkshire poetry? In other words, what is it that connects poems by Larkin, Hughes, Armitage and Mort, whilst setting them apart from poetry of other UK regions?

From the calloused hands of a former coal miner emerges a heartfelt collection that reminds us that even in life's toughest terrains, there is light to be found. Life is Mostly Fun is a tapestry of poems that spin tales of joy, wonder, and yes, the occasional hurdles that prove no match for an unshakeable spirit. With a keen eye for the quirks and humour that colour our everyday existence, the author invites you to join him on a romp through sunny vignettes that will leave you grinning from ear to ear. Yet he also digs deep, unearthing profound truths about our shared human experience that will resonate long after the final line. Whether finding magic in the mundane or plumbing the depths of the soul, these verses celebrate life in all its messy, luminous glory.

In Christopher Reid's marvellous new collection, a schoolboy furtively and thrillingly drops a marble through the top of his desk so that it makes its way in darkness along a complicated chute of books, rulers and rubbish, only to emerge from a hole in the base and be caught deftly in his other hand. The poem is titled 'Homeric' and might serve as a clue to the mood and construction of the collection in general, where the poet, now in his seventies, seeks to track down and commune with his much younger self. It is an investigation that tests Wordsworth's 'the child is father of the man' by contriving a series of transtemporal encounters between two selves who may now, conceivably, begin to understand each other.Reid was born in Hong Kong and, thanks to the roving nature of his father's employment, spent some of his childhood in foreign places. Most of the locations in this book, however, are the Britain of the 1950s and '60s - perhaps, at this distance in time, no less exotic. As the poems move from pre-verbal experience to adolescence, the younger self is captured in scenes that illuminate the steps by which a man - a poet - has been raised. Another poem conjures up the childhood of Henry James in order to reflect on 'the large part /mystery plays in both childhood and art,' a proposition that the book as a whole may be said to endorse through both its wondering gaze and its ingenuity.

Shortlisted for the Agnes Lynch Starrett Poetry Prize/The Pitt Poetry Series“In The Lives of Rain, Nathalie Handal has brought forth a work of radical displacement and uncertainty, moving continent to continent, giving voice to Palestinians of the diaspora in the utterance of one fiercely awake and compassionate, who, against warfare, occupation and brutality offers her native language, olives, wind, a herd of sheep or a burning mountain, radio music, a butterfly’s gaze. It is a poetry of never arriving, of villages erased from the maps, of tattooed waistlines and kalishnikovs, a goat and a corpse cut open side by side, where every house is a prison. In a spare, chiseled language without ornament, she writes an exilic lyric, fusing Arabic, English, Spanish and French into a polyglot testament of horror and survival. Habibti, que tal? she asks of those who wander country to country, while those left behind in Jenin, Gaza City, and Bethlehem inhabit a continued past of blood/of jailed cities. Her subject is memory and forgetting, the precariousness of identity and the fragility of human community; it is the experience of suffering without knowledge of its end. Handal is a poet of deftly considered paradoxes and reversals, sensory evocations and mysteries left beautifully unresolved. Hers is a language seared by history and marked by the impress of extremity; so it is suffused with a rare species of wisdom. — From the Foreword by Carolyn Forché