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Ellipsis 1

Tim Cooke, Jean Sprackland and Sean O'Brien

Cover Picture of Ellipsis 1
RRP: GBP 7.95
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Price: GBP 7.16
No Longer Our Product
ISBN: 978 0 854828 02 9
Imprint: Comma Press
Published: June 2005
198 x 208 x 8 mm
Publisher: Comma Press
  • Description
  • Authors
  • Reviews
  • Taking its cue from the Penguin Modern Poets series, Ellipsis is a new series presenting the work of aspiring and established authors with developing interests in short fiction. Including three authors in each book, Elipsis will explore the possibilities offered by the short story sequence, linking stories by a shared fictional commitment to a real setting.

    Starting in the derelict rooms and vandalised stairwells of a tower block in south Manchester, Tim Cooke's stories draw intricate spirals around the claustrophobic lives of those who occupy them, souls treading water in their lives until each discovers, too late, that something wider is at play. Jean Sprackland follows various characters clinging to lost dreams and obsessions, from a dead lover, to an obsolete make of rollercoaster, amid the dunes and fairgrounds of Southport. Sean O'Brien's voices are also those of lost souls, but souls that actively seek their own dereliction, staggering between the vaulted libraries and nocturnal drinking dens of Tyneside.

    Jean Sprackland
    Jean Sprackland 's first collection of poetry, Tattoos for Mothers' Day (Spike) was shortlisted for the Forward First Book Award and her second, Hard Water (Cape) is a Poetry Book Society Recommendation and was shortlisted for the 2003 T.S. Eliot Award. She lives in Southport. ... read more
    Sean O'Brien
    SEAN O'BRIEN has published four collections of poems, most recently Downriver, which won the 2002 Forward Prize for Best Collection. His essays have been collected in The Deregulated Muse: Essays on Contemporary British and Irish Poetry (Bloodaxe) and he has translated Aristophanes' The Birds (Methuen) and more recently Zamyatin's We for ... read more
    Praise for Sean O'Brien 'Often in the last scene, often in the last line, O'Brien... withdraws his offer of a pint of mild in the local piss-palace and nails your bottom lip to the bar instead...'
    M John Harrison in the TLS
    'Strange, creepy, often brilliant...'
    The Financial Times
    'The prose, winging between stateliness and the coarsest urban patois, is fluent and flawless...'
    The Independent on Sunday
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