Dikter

Redefines Irish modernism as resistance to religious, sociopolitical and aesthetic orthodoxies Edinburgh Companion to Irish Modernism presents a fresh perspective on received understandings of Irish modernism. The introduction draws connections between modernism in the arts and modernism as a resistant, liberal, relativist movement within the Catholic Church that was gathering momentum in the same period. In religion as in culture, resistance to orthodoxy has persisted, and for this reason this companion explores modernist heresies - cultural, aesthetic, critical, epistemological - that stretch back to the late nineteenth-century and forward to present day. Contributors widen the temporal, conceptual, generic, and geographical definitions of Irish modernism by investigating crosscurrents between literary form and cultural transformation through the twentieth and twenty-first centuries. The book enriches the canon of Irish modernism by recovering lesser-known works by both neglected and canonical writers, especially women poets and novelists. Maud Ellmann is the Randy L. and Melvin R. Berlin Professor of the Development of the Novel in English at the University of Chicago. Siân White is Associate Professor of English at James Madison University. Vicki Mahaffey is the Clayton and Thelma Kirkpatrick Professor of English at the University of Illinois at Urbana-Champaign.

A detailed assessment of D. H. Lawrence's wide-ranging engagements across the verbal, visual and performance arts This book includes twenty-eight innovative chapters by specialists from across the arts, reassessing Lawrence's relationship to aesthetic categories and specific art forms in their historical and critical contexts. A new picture of Lawrence as an artist emerges, expanding from traditional areas of enquiry in prose and poetry into the fields of drama, painting, sculpture, music, architecture, dance, historiography, life writing and queer aesthetics. The Companion presents original research on topics such as Lawrence's politics in his art, his representations of technology, his practice of revising and rewriting, and the relationship between his criticism and creation of prose, poetry and painting. This interdisciplinary Companion also makes a strong case for Lawrence's continuing relevance and aesthetic power, as represented by case studies of his afterlives in biofiction, cinema, musical settings and portraiture. Catherine Brown is Head of English and Senior Lecturer in English Literature at the New College of the Humanities, London. She is the author of The Art of Comparison: How Novels and Critics Compare (2011), articles on Lawrence, George Eliot, Henry James and Tolstoy, and is the co-editor of The Reception of George Eliot in Europe (2016). Susan Reid is the Editor of the Journal of D. H. Lawrence Studies. She is the author of D. H. Lawrence, Music and Modernism (2019) and many articles and book chapters on Lawrence and other modernist writers, and the co-editor of Katherine Mansfield and Literary Modernism (2011) and Katherine Mansfield Studies (2010-12).

This new collection from one of Ireland's leading writers is a book of wonderings and wanderings, meditating on cultural boundaries, the persistent horrors of war, lost friends and light.

The poet traces their ancestral legacy over the centuries through the history of 'King Sugar'.

"Originally from Canada, Norma Cole is a revered writer and visual artist who has authored and translated over thirty books and chapbooks. Though highly esteemed internationally in both visual art and poetry circles, Cole's association with the New College of California and her influence on artists and poets has been overlooked by scholars. In "That Tongue Be Time," Dale M. Smith seeks to remedy this oversight by bringing together sixteen noted scholars, editors, and poets to examine Cole's poetry, translations, and visual art in order to place her within the larger scholarly conversation about contemporary poetry and poetics. The book also includes a number of black-and-white reproductions of Cole's art and a contextual introduction by Smith. "That Tongue Be Time" provides a groundbreaking look at Norma Cole's lasting influence on multiple generations of poets, visual artists, and scholars and should be on the shelf of anyone interested in contemporary poetry"--

"Originally from Canada, Norma Cole is a revered writer and visual artist who has authored and translated over thirty books and chapbooks. Though highly esteemed internationally in both visual art and poetry circles, Cole's association with the New College of California and her influence on artists and poets has been overlooked by scholars. In "That Tongue Be Time," Dale M. Smith seeks to remedy this oversight by bringing together sixteen noted scholars, editors, and poets to examine Cole's poetry, translations, and visual art in order to place her within the larger scholarly conversation about contemporary poetry and poetics. The book also includes a number of black-and-white reproductions of Cole's art and a contextual introduction by Smith. "That Tongue Be Time" provides a groundbreaking look at Norma Cole's lasting influence on multiple generations of poets, visual artists, and scholars and should be on the shelf of anyone interested in contemporary poetry"--

MAAFA is an epic poem about reparations and the female body. MAAFA undoes the erasure of trauma and of black femininity. Maafa has killed her father and been granted eternal life.

This new anthology brings together a generous selection of famous wartime poets alongside works by civilians and soldiers, offering a symphony of different voices, all connected in their shared experience of the Second World War. An introduction provides historical context and biographical accounts of each poet.

'It all happened long time ago, no one now remembers this storylet me tell you how it all happened, how once we turned unholy.'In Southernmost, Leo Boix takes us on a spellbinding voyage through time and imagination, from the Argentina of his birth - 'the end of the world, the antipode' - to a new life in England.Unearthing an old grief, the poet embarks on a glittering, encyclopaedic exploration of the Latin America he left behind: a journey through personal memory into a continent's past, haunted by the Europeans who once fixed their telescopes on its shores. Helping us 'see faces history can't reach', Southernmost reveals truths hidden in plain sight: the devastation of indigenous peoples and their lands; dissidents disappeared by the junta; a mother's concealed cancer diagnosis; the clarifying sexuality of a boy whose father can't bear to acknowledge it.Restlessly intelligent, tender in their evocation of gay intimacy, migration, and the natural world, this virtuosic net of sonnets captures a glimpse of our world's interconnecting threads.'And I realised I couldn't go on travelling - I had to stop my tour;that there was no El Dorado; their vast skies were also ours.Years later, in another country, I was also an interpreter who tried to render things from one world to another.When I finally wake up I'm always at a loss. Where am I?I'm back home, of course. Still, outside, the strangest sky.'

A collection of poems by spoken word artist Aditi Banerjee in response to the genocide taking place in Palestine and illustrated by colour images

Bernard O'Donoghue investigates the idea of anchorage as a place we build for ourselves out of memory and story. The Ireland of his youth is rich in colour and precise in detail, and while he acknowledges the power of the past, he also brings it into question: 'I wish I'd never started on this story;/It may have been a dream, or maybe not . . .' O'Donoghue's informal, even playful tone is that of a poet disarming themselves as well as their reader. He is neither plaintive nor nostalgic but confronts the possibility that what you are most attached to can be, in the end, what ties you down. The poems also enact the reluctance to return that arises out of a fear of finding yourself locked out.

A conversational collection about learning to live within your own skin, Sensitise centres touch as the vessel for romance, loss, joy and sorrow, archiving a queer experience that is honest, personal and vividly real in all its authentic beauty and ugliness.