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New Poetries VIEdited by Michael Schmidt and Helen Tookey![]() 10% off all versions
Series: New Poetries
Categories: 21st Century, Anthologies, Bestsellers, British, First Collections Imprint: Carcanet Poetry Publisher: Carcanet Press Available as: Paperback (256 pages) 9781784100377 £12.99 £11.69 eBook (EPUB) Needs ADE! 9781784100384 £12.99 £11.69 eBook (Kindle) 9781784100391 £12.99 £11.69 To use the EPUB version, you will need to have Adobe Digital Editions (ADE) installed on your device. You can find out more at https://www.adobe.com/uk/solutions/ebook/digital-editions.html. Please do not purchase this version if you do not have, or are prepared to install, Adobe Digital Editions.
From the first New Poetries anthology, published in 1994, through to this sixth volume, the series has showcased the work of some of the most engaging and inventive new poets writing in English from around the world, many of whom have subsequently gone on to achieve notable success: Sophie Hannah, Vona Groarke, Patrick McGuinness, Kei Miller, Caroline Bird, David Morley, Jane Yeh, William Letford, Tara Bergin, and many others. Crucially, the New Poetries anthologies have never sought to identify a ‘school’, much less a ‘generation’: the poets included employ a wide range of styles, forms and approaches, and ‘new’ need not be taken to imply ‘young’. Poets include Vahni Capildeo, John Clegg, Joey Connolly, Adam Crothers, Eric Langley, Rebecca Watts, Judith Willson, Alex Wong, and more.
Awards won by Michael Schmidt
Winner, 2016 Forward Prize for Best Single Poem - Sasha Dugdale's 'Joy', published in PN Review 227 (PN Review 227 )
Awards won by Helen Tookey
Short-listed, 2019 The Forward Prize for Best Collection (City of Departures)
Short-listed, 2015 Seamus Heaney Centre for Poetry Prize for First Full Collection (Missel-Child)
Praise for Michael Schmidt
'...probably the most informative and entertaining poetry journal in the English-speaking world.'
John Ashbery 'The most engaged, challenging and serious-minded of all the UK's poetry magazines.' Simon Armitage 'It has attempted to take poetry out of the backwaters of intellectual life and to find in it again the crucial index of cultural health.' Cairns Craig, Times Literary Supplement Praise for Helen Tookey 'Narratives describing strange, sometimes dreamlike, episodes from a female protagonist's childhood dominate the second section of Helen Tookey's four-part collection of poems and prose poems, City of Departures ... The narrative is clear and secretive at the same time: it prompts questions.' W. N. Herbert, The Poetry Review 'The poems are finely crafted and closely observed, describing somewhat unsettling, dream-like landscapes and places of memory, deserted streets in European cities, or taking artworks and objects as inspiration and points of departure... [The] rejection of borders is a fitting ending to a collection that challenges formal and aesthetic boundaries, and engages with a range of European artistic influences to offer a vision of 'belonging as not-belonging' in the face of certain and chaotic political times.' Sophie Baldock, The Manchester Review 'Reading this book can feel like sliding into that sunken world. Strange things float beneath its beautiful surfaces' Tristram Fane Saunders, The Telegraph 'The city in Tookey's City of Departures is full of the excitements of history and chance, and the chances taken to make a kind of radiant sense of the world, in all its breakings-down and might-have-beens, which is exactly what, time and again, these beautiful poems do.' Jacob Polley 'Missel-Child is an exceptional volume. Some of the subject-matter is found, some comes from a powerful and intelligent imagination and from keen observation. All is embodied in a language that is sensuous and strong.' Jeffrey Wainwright 'The diction is unexpected, apt and deeply satisfying, focusing the reader not only on the words chosen, but also on the ghosts and resonances of those that might have been there.' Carola Luther 'Her quiet, precise poems have a genuine eeriness. She has interests in both archaeology and psychology, but knows intuitively that they aren't separate -- that when we dig up the past it's our own roots we are looking at.' Grevel Lindop |
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