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Philip Terry

  • About
  • Reviews
  • Philip Terry was born in Belfast and is a poet and translator. He is currently working on an anthology of incomplete work called From. The Penguin Book of Oulipo, which he edited, appeared in 2019. He has taught at the universities of Caen, Plymouth and Essex, where he is currently Director of the Centre for Creative Writing. His books include the anthology of short stories, Ovid Metamorphosed (2000), the poetry collections Oulipoems (2006), Oulipoems 2 (2009) and Shakespeare’s Sonnets (2011), and the novel tapestry (2013), which was shortlisted for the Goldsmiths Prize. He is the translator of Raymond Queneau’s Elementary Morality (2007), and Georges Perec’s I Remember (2014). Dante’s Inferno, which relocates Dante’s poem to current-day Essex, was published in 2014 and was an Independent poetry title of the year.



    Praise for Philip Terry 'Champerret conjures up the day-to-day activities of the hunter-gatherers - cooking, scouting, trapping, making huts and tents, sewing - and, of course, their sacred rituals, dances and the entry into the dark, the underworld, the otherworld of the caves. The cumulative effect of the poems is slowly to build an atmosphere that evokes both the strangeness and the familiarity of the Palaeolithic world'

    Hilry Davies, Literary Review

    'A fascinating and clever book - a fantasy of deciphering, coding, what can be done within limits and limited vocabulary... I've never read anything like it'

    Stuart Kelly, The Scotsman

    'Exhilarating and thought-provoking... It will, I am sure, become an influential and seminal book, one which will illuminate the previously dark and shadow-filled caves of formative language.'

    Rupert Loydell, Tears in the Fence

    'The English language is shape-shifting, and Philip Terry has turned onto its multiple modern metamorphoses to produce a witty, subtle and unprecedented fugue with variations. Shakespearean themes of love, regret, loss, and misanthropy gleam through a sumptuous ventriloquising of varied idiolects taken from the new media and the global infotainment traffic, seemingly infinite permutations of structure and syntax show a delighted agility and command of intervention. I am admiring, diverted, baffled, and moved by this original, contemporary re-engagement with the Sonnets'
    Marina Warner 
    'Sparse by design, this poetry is a strong reminder of the power of words when allied to our imagination, experience and emotions.'
    Prize Judges, New Angle Prize for East Anglian Literature
     '[Philip Terry's Inferno] follows Dante's narrative freely but carefully, moving constantly between colloquial and standard, rhythmically lively and effectively drawing the reader into the story.'
    Peter Riley, The Fortnightly Review
     'Philip Terry treats the tablets like elements of code to be cracked open for contemporary eyes and ears. [His] version is original and powerful; he does not try to mend the fragments into a legible whole, but remembers the poem's shattered state.'
    Marina Warner
    'It is brilliant... the pattern and rhythm very forceful and the lingo just stunning.'
    Marina Warner 
    'The lineation speeds along at a nice articulated pace, the Dantesque pitch is right and propulsive, the cast of villains is energising, the balance between language and lingo, the allusive and the obscene just right... Berrigan the perfect shambling guide...'
    Seamus Heaney
      'Though Terry's 'I' is all but absent, his eye is keen throughout, seizing on significant details of his wanderings around estuaries, around the old Berlin Wall, and finally along the digressive paths followed by W. G. Sebald through Suffolk in The Rings of Saturn. En route, Terry's precise [...] selection of language -- sampled from the vocabularies of biology, geography and history, among other disciplines -- offer hints and glimpses and conjectures about the ways in which these three modern landscapes have been shaped by their past and present inhabitants and vice versa. There is no overt editorialising, but rather a pervasive air of pensiveness that invites many re readings. These are poems of high ambition and integrity, and there is nothing else in the English language quite like them.'
    Kevin Jackson
     'These surprising and intriguing poems offer new ways of seeing overlooked places; of reading landscapes too often dismissed as illegible. Tonally adventurous, formally radical, sometimes witty, sometimes melancholically beautiful, they stand at a convergence of nature writing and experimental poetics.'
    Robert Macfarlane
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