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Jenny Lewis

  • About
  • Reviews
  • Jenny Lewis is an Anglo-Welsh poet, playwright, songwriter, children’s author and translator who teaches poetry at Oxford University. She trained as a painter at the Ruskin School of Art before reading English at St Edmund Hall, Oxford. She has worked as an advertising copywriter and a government press officer for, among others, the Equality and Human Rights Commission. She has also written children’s books and plays and co-written, with its creator, Kate Canning, a twenty-six-part children’s TV animation series, James the Cat. Her first poetry sequence, When I Became an Amazon (Iron Press, 1996) was broadcast on BBC Woman’s Hour, translated into Russian (Bilingua, 2002) and made into an opera with music by Gennadyi Shizoglazov which had its world premiere with the Tchaikovsky Opera and Ballet Company in Perm, Russia, November 2017. Since 2012, Jenny has been working with the Iraqi poet Adnan al-Sayegh on an award-winning Arts Council-funded project, ‘Writing Mesopotamia’, which aims to build bridges and foster friendships between English and Arabic-speaking communities. Her work for the theatre includes Map of Stars (2002), Garden of the Senses (2005), After Gilgamesh (2011) and, with Yasmin Sidhwa and Adnan al-Sayegh, Stories for Survival: a Re-telling of the 1001, Arabian Nights (2015). She has published two collections with Oxford Poets/Carcanet, Fathom (2007) and Taking Mesopotamia (2014). Jenny is currently completing a PhD on Gilgamesh at Goldsmiths.
    Praise for Jenny Lewis 'Gilgamesh Retold by Jenny Lewis rings with the strength of the original texts and sings with its own poetic originality.'
    Fran Hazelton, author of Stories from Ancient Iraq (2010) and Three Kings of Warka, Myths from Mesopotamia (2012)
    'While bringing back to life Gilgamesh and the immense cultural heritage of Mesopotamia-Iraq, Jenny Lewis also proves to us that poetry is, as it always has been, the best way to rekindle the past while capturing the essence of the times we live in.'
    Adnan al-Sayegh
    'Taking Mesopotamia is a stunning collection, one that sticks to you like a burr after you've read it. It is as if in writing it, Jenny Lewis has stumbled across one of the marvels contained within the Epic of Gilgamesh, one of its groves of jewels - and laid it out across the page for us to look at.'
    Laura Scott, The North
    'Jenny Lewis' Taking Mesopotamia is a brilliantly conceived and executed, very moving book... This is a modernist route - we will see more poetry collections built on these lines.'
    Dilys Wood, Artemis
     
    'Jenny Lewis's Gilgamesh Retold is not simply a retelling of the ancient epic; it is the spirited 'response' of a contemporary poet to the original legend. Using a variety of lively metrical forms and expanding the material where appropriate - notably regarding the goddess Inanna - Gilgamesh Retold is a vivacious reanimation of a timeless narrative for today's readers.'
    Theodore Ziolkowski, author of Gilgamesh Among Us: Modern Encounters with the Ancient Epic
    'Gilgamesh Retold is terrific - and very beautiful. It is the fullest version I have ever read, and the richest. It has the immediacy of dream. I've never felt from other versions just how precious the life is which Gilgamesh longs to keep.'
    Alison Brackenbury
    'In this haunted and haunting collection, intuition leads cognition in a pas de deux of great power and beauty.'
    Jon Stallworthy, Oxford Times
    'Her poems delve into her own past, recalling with powerful specificity...'
    Sarah Crown, Guardian
     'Taking Mesopotamia is easily the best collection of poetry I've read so far this year.'
    Gareth Prior
    'Taking Mesopotamia -- a brilliantly ironic title for our times -- controls its anger through an accomplished and flexible technique in verse and prose. It is [...] an eloquent rejoinder to those who say poetry can't, or shouldn't, concern itself with public matters.'
    Bernard O'Donoghue
     'Taking Mesopotamia is a truly memorable piece of work. Lewis is an acutely attentive observer, but this is more than a poetic documentary - it lives as much in the ear as in the imagination, so well acoustically arranged that we cannot forget any of the voices in it.'
    Jane Draycott
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