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Categories: 21st Century, British, Women
Imprint: Carcanet Poetry
Publisher: Carcanet Press
Paperback (64 pages)
(Pub. Nov 2017)
eBook (EPUB) Needs ADE!
(Pub. Nov 2017)
(Pub. Nov 2017)
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Winner of the 2017 Poetry Book Society Winter Choice Award.
Contains the poem 'Joy' - Winner of the 2016 Forward Prize for Best Single Poem.
Sasha Dugdale’s fourth Carcanet collection, Joy, features the poem of that title which received the 2016 Forward Prize for Best Single Poem. ‘Joy’ is a monologue in the voice of William Blake’s wife Catherine, exploring the creative partnership between the artist and his wife, and the nature of female creativity. The Forward judges called it ‘an extraordinarily sustained visionary piece of writing’.
The poems in Joy mark a new departure for Dugdale, who expresses in poetry a hitherto ‘silent’ dialogue which she began as an editor of Modern Poetry in Translation with writers such as Don Mee Choi, Kim Hyesoon, Maria Stepanova and Svetlana Alexeivich. Dugdale combines an open interest in the historical fate of women and in the treacherous fictional shaping of history. In the abundant, complex and not always easy range of voices in Joy she attempts to redress the linear nature of remembrance and history and restore the ‘maligned and misaligned’.
Awards won by Sasha Dugdale Short-listed, 2020 T.S. Eliot Prize (Deformations) Winner, 2017 The Poetry Book Society Winter Choice Award (Joy) Winner, 2017 SOA Cholmondeley Award Winner, 2016 Forward Prize for Best Single Poem (for 'Joy') Winner, 2003 Eric Gregory Award
'Dugdale proves herself a powerful voice by writing about visual art, poetry, and history "in reverse".
Antony Huen, The Compass
'Joy... is a free-wheeling and beautifully sustained portrait of grief and the truths it can convey.'
Sarah Westcott, Artemis Poetry
'Dugdale's skill at form is directed at containing the uncontainable death and absence which allows us to handle them, like examining insects trapped in amber''These compelling stories of strange happenings in an almost imperceptibly strange style make your mind understand foreignness as our process. Sasha Dugdale is a wise bard and her book is a civilising read.'
Lisa Kelly, Magma Poetry Review 71
Claire Crowther in The Poetry Review
'The categories of age, empire and (particularly) gender are shown to set unjust limits on human flourishing, and on what histories can be told. Yet Dugdale emphasises that, when oppressed subjects are allowed to express themselves, their stories might still be of willed sacrifice and genuine happiness.'
'Sometimes you read a work that is so clearly deserving of the accolades it's received that it restores your faith in things. Sasha Dugdale's 'Joy' is such a work.'
The Poetry School
Praise for Sasha Dugdale 'Deformations has the ability to change the landscape of how we can about abuse and trauma'
Rachel Long, Observer Books of the Year 2020
'With it's spare, muscular language, Deformations views our distorting predilection for myth-making with no nonsense clarity'
John Field, T.S. Eliot Prize'This is sly, subtle, elliptical work, entrapping both subject and reader in something queasily human [...] It's the sign of a poet utterly in control of her gifts. This may seem a strange thing to say about a book so filled with unreliable narrators, but in Deformations Dugdale proves hers is a voice you can trust.'
Tristram Fane Saunder, The Telegraph, where Deformations was Poetry Book of the Month (September 2020)
'This is writing that flows with many voices, with uncompromising acts of ethical energy, with writing that turns on itself and offers up for display its own protocols, gifts and virtù with astonishing and intricate candour and difficulty, and yet communicated in this tour de force plainstyle that judges its signifying powers to represent at the same time as breaking through, by way of its very deformation of tradition and assumption, to a moving communicableness of shared witness'
Adam Piette, Blackbox Manifold
'...a beguiling and unusual debut, its best poems at once elusive, satisfying and likely to go on being read.'
Sean O'Brien, Times Literary Supplement My favourite collection this year is Sasha Digdale's 'Red House' (Carcanet Oxford Poets). I like how she has infused her British sensibility with the passion and abandon of Russian poets like Anna Akhmatova and Marina Tssvetaeva, whom she has previously translated.
Kathryn Maris, Timeout Magazine Best of 2011
'The sensibility The Estate reveals is intelligent and wry - as well as highly original'
Fiona Sampson, Tower Poetry 'Notebook is a beguiling and unusual debut, its best poems at once elusive, satisfying and likely to go on being read.'
Times Literary Supplement
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