{"title":"Leeds Conference","description":"","products":[{"product_id":"pepper-seed-by-malika-booker","title":"Pepper Seed by Malika Booker","description":"\u003cp\u003eShortlisted for the Poetry Prize for First Collection from the Seamus Heaney Centre for Poetry\u003c\/p\u003e\n\u003cp\u003eMalika Booker’s Pepper Seed is map and compass to a world of distinct yet interconnected landscapes. At home in a number of locales (Brooklyn, Brixton, Trinidad, Guyana, and Grenada) Booker trains a brave eye on the unspeakable and the unspoken. By turns bearing witness, to the interior lives of the characters that people her poems, and laying herself bare, conjuring an immediate and complex vision of the miraculous ordinary. \u003c\/p\u003e\n\u003cp\u003ePepper Seed is a wind at the reader’s back. 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Stink bugs work their way across America, cockroaches waltz, and quixotically-named mushrooms rise from the earth in this flirtatious but volatile collection.\u003c\/p\u003e\n\u003cp\u003eDescribed by David Wheatley as ‘boldly overhauling the received categories of the Irish poem’ with ‘cunning and humour’, Ailbhe Darcy’s poems interrogate cosmopolitanism as much as they do rootedness, love as much as grief.\u003c\/p\u003e\n\u003cp\u003eAilbhe Darcy’s first collection,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eImaginary Menagerie,\u003cspan\u003e \u003c\/span\u003e\u003c\/i\u003ewas published by Bloodaxe in 2011:\u003c\/p\u003e\n\u003cp\u003e‘This is Irish poetry progressing – acknowledging the narrative tradition, but making the language entirely new.’ – Jennifer Matthews,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003ePoetry International.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e‘Approaching the world as they do with open hands, it is the good fortune of Darcy’s poems to find the globe dropping unbidden into their palms. 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In the poems of England’s Greenwe are invited to look at the place and the language we think we know and made to think again. With everything so newly set, we are alert, as the poet is, to the ‘dark missing\/step in a stair’, entering this new world with bated breath. By such close attention to the parts, the poems have a genius for invoking absence, whether that be a missing father, the death of a mother or a path not taken. Fully formed, they share a centre of gravity: migrations, memories, little transgressions and disturbances, summoned and contained in small gestures – a hand held, the smell of a newly bred rose or the scratch a limpet makes to mark its home.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e‘Zaffar Kunial is a poet whose work thrills me, who makes you return to the origins of things, places, language and people again and again. 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The Recycling asks if the specific occasions of this particular book - circling round heartbreak, the solaces of art and the natural world - only deflect the abiding terror of a dying planet in what he calls 'humankind's millenarian agriculture of want'.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRiffing on the work of other writers' attempts, optimistic and in the end futile, to reach out to the other - human or not - Connolly's technically audacious poems churn traditional poetics into a heap of repurposed pages, rusted fastenings, glittering fragments. 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Instead, the poems are preoccupied with pop music, etymology, surveillance equipment and cervical examination, church architecture and beetles. Just about anything, in fact, except what intimacy is or looks like.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eSo this is a book that runs on failure, and also a book about failures: of language to do what we want, of connection to be meaningful or mutual, and of the analytic approach to say anything useful about what we are to one another. Here are abrupt estrangements and errors of translation, frustrations and ellipses, failed investigations. And beetles.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eI Think We're Alone Now is Abigail Parry's second collection. 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Winner of the Disabled Poets Prize 2024, Susie Wilson’s debut pamphlet collection *Nowhere Near As Safe As A Snake In Bed *charts the painful absurdities of living with advanced melanoma and the cutting-edge science used to treat it. Judged ‘extraordinary’ by Pascale Pettit, this incisively perceptive and darkly humorous series of poems and notes inventively plays with imagery, form and language, while refusing ever to look away from the seriousness of its central theme: the ridiculousness of how life changes on you.\u003c\/p\u003e","brand":"Verve Poetry Press","offers":[{"title":"Default Title","offer_id":51557295980926,"sku":"9781913917647","price":8.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1331\/9925\/files\/1731925265.png?v=1731925409"},{"product_id":"breaking-a-mare-by-christina-thatcher-pre-order","title":"Breaking a Mare by Christina Thatcher","description":"\u003cp\u003e‘In Christina Thatcher’s vivid new collection, the farm offers wildness and wonder to a young girl, as she witnesses bodies broken and made strong again. \u003cem\u003eBreaking a Mare\u003c\/em\u003e shows us that the breaking can be part of the survival.’ –\u003cstrong\u003e Rebecca Goss \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e‘What a precision feat this book pulls off.  On the one hand, these are poems of sleek physicality – of clasp and bit and buckle and braid – with shrewd things to say about the tyranny of polish and perfection. At the same time, they’re intimately attuned to the charged spaces we occupy and the roles we perform within them, whether it be a rodeo arena, a haunted hayride, a school playground or an empty kitchen...  I am, like one of her riders, lovestruck quick for all of it.’ – \u003cstrong\u003eAbigail Parry  \u003c\/strong\u003e\u003cbr\u003e \u003cbr\u003e‘An exceptional writer, a poet who refuses to stay quiet. Her speaker has galloped out of darkness, urging us now to consider: what has been breaking us, what is it that we can tame, what wildness can we harness?’ – \u003cstrong\u003eCl\u003c\/strong\u003e\u003cstrong\u003eare E. Potter\u003c\/strong\u003e \u003c\/p\u003e\n\u003cp\u003eIt’s summer and the flies are back\u003cbr\u003eand your mare is wild-eyed and uneasy\u003cbr\u003etossing her head as she trots, jolting\u003cbr\u003eas trucks arrive in the driveway, you\u003cbr\u003ekeep kicking, you want to canter:\u003cbr\u003ecome on girl, let’s go and then\u003cbr\u003eshe does let you go— \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eBreaking a Mare\u003c\/em\u003e is an investigation of silence, goodness and girlhood. It invites readers into the barn, the sawdust mill, the rodeo arena. These poems expose the hard work women do on farms, the loss of rural landscapes and the role death can play in these spaces. They ask what it means to be good in the face of physical, emotional and ecological threat. Ultimately, these poems want to know what breaks us and what makes us stronger.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eChristina Thatcher\u003c\/strong\u003e grew up between a farm and a ranch house in Bucks County, Pennsylvania. She won a Marshall Scholarship to study in the UK and now lectures at Cardiff University. Her poetry and short stories have been widely published in literary magazines, including \u003cem\u003eAmbit, Poetry Wales, The North and The Poetry Review\u003c\/em\u003e. She has published two earlier collections, \u003cem\u003eMore than you were\u003c\/em\u003e and \u003cem\u003eHow to Carry Fire\u003c\/em\u003e. Christina has toured internationally, reading her work in the UK, USA, Canada, Costa Rica, Switzerland and Romania. 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These luminous and wry poems \"composed in short-lined tercets \"reflect the changing world: one of unstable weather patterns and unpredictable news events, all observed across a few acres of Pennine upland. As phases of lockdown come and go and the cemetery fills up with new 'residents', Armitage charts personal losses of his own, often retreating to his garden shed to navigate blank paper with pen and ink. Encompassing lyrical revelations and everyday vignettes alongside apocalyptic visions and imagined conversations with the deceased, these pages draw us into a parallel neighbourhood of remembrance and celebration. 'Armitage's poetic world is instantly recognisable, always inclusive.' New Statesman 'Among Armitage's talents has always been his ability to set up easy-going conversational rhythms, then use them to power through difficult material.' Guardian 'Our best living poet.' 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Having seen the “surreal landscape of history’s graveyard” and understood “what it means to be a refugee in one’s own country” the poet gives us wisdom. Through McCallum’s clarity of perspective, her musical, memorable clarity, the soul stands apart, sees and is seen. With unrelenting honesty, here is a book that proposes we take a step back from the shallowness of our age and open our eyes—as the many painters and landscapes the poet finds herself in front of do—to behold the world that is ours. Behold. Behold. 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