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Still, those were the times and the way one expressed oneself in them. There is a world of difference between having to read a poet as part of your studies and picking one up for pleasure later, which is why this is such an important and definitive edition. It will suit both the scholar and the general reader.

The editors have managed to squeeze in some unfinished poetry and prose works — in some cases they break off poignantly mid-sentence, but they are nevertheless worthy of inclusion. One of the fascinating things about Shelley is that, while the diction may now sound archaic and high-flown, his political sensibility was ahead of its time. His atheism, to take just one of his revolutionary positions, was extremely courageous for the era, and bravely expressed, too.

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The exciting thing about a New and Selected Poems is our chance to read all the poems in their relationship with each other. And what a poet she is. Right from the start her poems are just so bloody good: so linguistically focussed and thoughtful, so felt in ways never sentimental and never without sharp questioning. She displays the same fluent formality and high intelligence.

She has intensity and insight, she has the everywhere presence of deft construction and depth of engagement major work requires. So she has range. With such expansiveness she is capable of delaying closure and opening the conceptual and psychological possibilities of the poems further towards richer, more complex travel. Many poets cannot. Even in her smaller poems she often extends the effect through sequencing - each smaller poem like an organic charge, like organic batteries, a flow of isotopes.

But the poetry is always about the multiple nature of Being.

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She writes within a kind of larger, ever-present Theatre of Ontology - exploring so many aspects of being and self-awareness and doubt and love and uncertainty, all there in the mix. It does allow her, though, a pointed sense of those fitful, exaggerated years of childhood, of that hunger and mixed-up yearning to be more intensely, to be more fully, in place, but also to escape from it: to where life is Reading her poems has made me think - again - there is a great deal of the fabulist in her, at times akin to the wonderful Wallace Stevens.

So glamorous were the words, the people grew jealous and; In vitro, they tended the genes their dreams elbow-deep in cells. The two characters speak: Only once have I seen the moon in Spanish-heeled boots, light skirt, her tongue a mauve feather drifting between words.

I cannot easily, like you, live in a waste of time Because Jenny is a traveller. This is also the verbal mask. And here the soft analogues of a poem made on and of the world, just as in Stevens, a poet creating a poem from reality, in the fictive place where the material that gives rise to the poem, and the poem as imagined on reality, are not different. And by soft I mean malleable and permeable, because to read these poems is to feel them as enterable, even, in flux, both the being and the material of the poem always becoming. The Colombine poems see much and feel much, because Jenny Harrison the poet is deeply formed by the various chemistries of nurture and empathy, and they come of the presence of love, which is one of the constant themes of the books, not love as love poem, but love as a depth of assumption, as a dynamic reality, and as a crucial urgency and question.

In Praise of the Unfinished: Selected Poems

From the beginning, though, it seems to take the form of sound - which is the sensory heart of her poetry. So when the newest poems appear they take over sound quite utterly - the use of voice has been leading up to, firstly, the series of Fugues, more of the exotic: The city puts a hand between my thighs when I sleep— rosehips and tobacco scenting the mosaic air.

It is naughty and knowing. And to begin with, these poems and pantoums use the drama of form, and the sound of form. We are caught up in the voices made of a shifting and repeating, of echoes and shape-changing. They become strong incantations. Any pantoum can become claustrophobic, in the best sense, the tightness of enclosure and repetition creating a dizzying affect, as the lines return And in a time and place, centuries removed, in the outer history, of the great plague, for instance: Laughter must be the blackest sadness the beautiful pyre on which love dies, singing.

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So much of our day-to-day viewing experience is us being passive in the front of the very active; I mean, being hit full-on by lights and noises, by radios and TVs, rock bands and pop stars, by endless noisy bloody personalities and shameless politicians. We cop stand-up sales pitches, stand-up comedians, even stand-up poets, pitching directly and in heightened manner to our faces.

How different then to watch musicians who play in orchestras, say, or in chamber groups, where they, in contrast, address not the audience at all, but the conductor Please apply exchange offer again. Your item has been added to Shortlist. View All. Return form will be sent to your email Id:.

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