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Apocalypse

An Anthology

Edited by James Keery

Cover of Apocalypse An Anthology by James Keery
RRP: GBP 19.99
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This title is available for academic inspection (paperback only).
Paperback
ISBN: 978 1 784108 18 2
Categories: 20th Century, American, Anthologies, BAME, British, Language, Women
Imprint: Carcanet Poetry
Published: November 2020
216 x 135 x 32 mm
432 pages
Publisher: Carcanet Press
Also available in: eBook (Kindle), eBook (EPUB), eBook (PDF)
Digital access available through Exact Editions
  • Description
  • Editor
  • Reviews
  • This first anthology of Apocalyptic or neoromantic poetry since the 1940s includes over 200 poets, many well known (Dylan Thomas, W.S. Graham, Ted Hughes), and others quite forgotten (Ernest Frost, Paul Potts). Over forty of the poets are women, of whom Edith Sitwell and Lynette Roberts are among the most exuberant. Much of the contents has never previously been anthologised; many poems are reprinted for the first time since the 1940s. The poetry of the Second World War appears in a new context, as do early poems by Philip Larkin, Denise Levertov and Geoffrey Hill. Here, readers can enjoy an overview of the visionary modernist British and Irish poetry of the mid-century, its antecedents and its aftermath. As a period style and as a body of work, Apocalyptic poetry will come as a revelation to most readers.
    James Keery lives in Culcheth and teaches English at Fred Longworth High School in Tyldesley. Carcanet published That Stranger, The Blues in 1996 and his new edition of Burns Singer's Collected Poems in 2001. He is currently writing on J.H. Prynne (for Jacket) as well as on the Apocalypse and a ... read more
    'Can I find fault with this anthology? I tried, but I was overwhelmed - it gives everything you could possibly ask for and travels to places which this reviewer did not know existed... Keery has found poets we didn't even know about... This recovery of the real story of the Forties is a unique achievement, but is also a rehearsal for the even larger project of recovering the whole history of 'alternative' poetry since 1937, and for the first time drawing a map of modern British poetry which is based on information rather than a wish to control the market'

    Andrew Duncan, Tears in the Fence

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