Quote of the Day
I'm filled with admiration for what you've achieved, and particularly for the hard work and the 'cottage industry' aspect of it.
Subscribe to our mailing list
RRP: GBP 9.95
You Save: GBP 0.99
Price: GBP 8.96
This title is available for academic inspection (paperback only).
ISBN: 978 1 906188 02 3
Imprint: Carcanet Poetry
Published: August 2011
216 x 135 x 5 mm
Publisher: Carcanet Press
Also available in: eBook (EPUB), eBook (Kindle), eBook (PDF)
Late June the ghosts of shepherds meet on the hills
And one has his crook with its musket barrel hook
One carries a Bible, and all wear the smock
And listen out for the little bells and canister bells
Worn by the sheep and the big cattle, carried by the wind
Which shapes the hawthorn into mermaid's hair and open book.
In Red House, her third collection, Sasha Dugdale evokes the ghosts and presences that flit about on the margins of our lives. She finds them at the edge of towns where superstores and allotments blur an older landscape, in Europe where emigrants leave their gods, their neighbours, their memories 'jettisoned like old clothes'; and across the chalk Downs of her native Sussex. She traces the shapes that they leave through folk song, lament and lyric poetry.
Haunted by history, confronted by primal brutalities, the poems in Red House proclaim the fierce, bright authenticity that is 'all the proof we need that we're alive'.
‘Perhaps Akhmatova was right’
The Poetry of Earth
A Ballad without Rhyme
‘Lifting the bedcovers and there’
Out of Town
Plainer Sailing (Alzheimer’s)
‘I can only be who I am’
Song of the Seagull
The Alphabet of Emigration
‘Late winter, like the tide retreating’
Awards won by Sasha Dugdale 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
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
Praise for Sasha Dugdale '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
'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
'...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 '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
We thank the Arts Council England for their support and assistance in this interactive Project.
This website ©2000-2020 Carcanet Press Ltd