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Hotel / Ali Lewis. - [miejsce nieznane] : Verve Poetry Press : Legimi, 2020.
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Hotel is a wonderful debut pamphlet from 2018 Eric Gregory award winning poet Ali Lewis. In short, intricate verse, his poems tackle the complexities of modern relationships and city living with great self-deprecation, not a little light-heartedness, and dashes of the surreal. But there is depth here too. In this connected century, with so many eyes on you, with so many opinions and agendas being made vocal, what is the best way to be, as a partner, a friend, a colleague? And what will happen if you get it wrong? The domestic lives large in these works, whether in rooms and halls offices or in the world beyond.Ali Lewis is a fresh new voice in poetry and is here for the long haul. Read, and you'll see why.
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Postcolonial Banteris Suhaiymah Manzoo-Khan's debut collection. It features some of her most well-known and widely performed poems as well as some never-seen-before material. Her words are a disruption of comfort, a call to action, a redistribution of knowledge and an outpouring of dissent. Whilst enraged and devastated by the world she finds herself in, in many ways it is also the mundane; hence, whilst political and complex in nature, her poetry is just the 'banter' of everyday life for her and others like her. Ranging from critiquing the function of the nation-state and rejecting secularist visions of identity, to reflecting on the difficulty of writing and penning responses to conversations she wishes she'd had; Suhaiymah's debut collection is ready and raring to enter the world.
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Verve Poetry Press are thrilled that the wonderful Katrina Naomi has asked us to publish the poems that came out of her recent Arts Council supported writing trip to Japan. And a wonderful group of poems they are, that at once depict Japan, its traditions, its customs with great enthusiasm but also a healthy dose of heart-on-sleave puzzlement. Katrina doesn't pretend she is an expert. She is very much an English poet abroad.Also included are Katrina's translations of Haiku by two Japanese masters which have previously been published in MPT magazine. Altogether, this is Katrina trying something new, but with the quality, the wonderful way with words, the earnest grappling with the perceived world that characterises all her work.
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Riotous and fizzing with language, the poetry of Golnoosh Nour boldly explores what it is to be utterly alive and ecstatically, yet complicatedly, in desire. –Richard ScottImpure Thoughts is a dizzying dance through impurity's several selves. Half bal masqué, half Grand Guignol, Nour confronts the limits of desire with an almost uncanny intensity of focus. Even at their most tender and elegiac these poems tremble with the white-hot heat of libidinal energy and gleam with oracular fury. –Fran Lock
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Rocksong / Golnoosh Nour. - [miejsce nieznane] : Verve Poetry Press : Legimi, 2021.
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'Rocksong is a shamelessly baroque ride through the all nadirs and summits of the contemporary queer. It's a decadent book, where decadence isn't a cipher for self-indulgence, but a fierce and fugitive resistance. As Audre Lorde writes 'We survived and survival breeds desire for more self'. Or, in the glowing neon precincts of Rocksong, more selves, plural. These poems flirt and confront in turns, they seduce and attack, they are tender and grotesque. They create a strangely exultant burlesque on identity, sexuality, desire and language. I love them for that.' Fran Lock
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Yasmina Nuny's debut, Anos Ku Ta Manda, is as fresh and vital as her performance style. She writes both in English and Kriol, her mother tongue, to portray plural and untranslatable existences. Her collection – so powerful – begins with an exploration of her country Guinea-Bissau, that remains accessible through language and family. Following this welcome into her home, Yasmina offers a more intimate reading of her musings and experiences of love and relationships. The final voice that we find in the collection is a political one, exploring both the trauma and joys of Black womanhood. Anos Ku Ta Manda is defiant and the experiences it explores are informed by Yasmina's relationship with God.
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Leon Priestnall was something quite rare on the Spoken Word circuit – a romantic, a lost soul, with so few of the right answers and so many of the wrong ones. His poems are full of questions, not solutions, or even a step further back from that – are asking the question of what questions to ask. In his work, he isn't setting himself up as any kind of answer – he is as wrong as he is right, behaves badly as often as correctly. Often too confused to be able to move – beyond lighting another cigarette, taking another drink, running for the door – or speak. Often trapped inside the circle of his thoughts, which are a riot of possibilities and recriminations, what-ifs and why-nots. That he is out and trying to engage at all feels like some kind of triumph. And he is out, in the locked throng of weekend bar-life, amidst the shouts and the laughter, the thrum of music, the night-life characters that appear and disappear like ghost-train skeletons, there as large and loud as life, until they are suddenly gone. He is out, trying to join in somehow. Either that or trying to forget. The other triumph is the language and energy of these hopeful no-hope poems. The lines sparkle like sharpened knives under the reflected light of glitter-balls. From Johnny, the 'flat out scoundrel rat/ with a scowl, prowling round your council flats,' to Taxi Girl; 'a rock n' roll Marilyn Monroe … waiting for a sunrise myth-busting insomniac,' – from 'the narcissistic weight of a post-modern baby Hitler with a twitter' to Leon himself, wishing he 'was unhurried, mild, unafraid, perhaps colder, not so wild,' myriad characters are brought to life with single breath-taking phrases, before the night, still young, but grown oh – so old, takes them off on their way again. The upshot of all this is a glowing collection of wild and passionate verse, full of rhythm and urgency, from a poet with a glorious way with words. Leon was such an incredible performer – all heart and agitation and countless voices – the worry was always that we would struggle to stick him to the page. This book puts those worries well and truly to bed. Hopefully they won't 'wake up the following morning/ next to some pricky pick up artist/ who knew how to seduce his way/ into [their] low self esteem…' We are very proud of this first and only collection from Leon, who passed on Jan 19 2021 and leaves such a huge hole. Also including guest poems by Jack Crowe, Bethany Slinn and Scarlett Ward.
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Sublime brand new and long awaited poetry from this elegant and meticulous poet. Her words contain such beauty, such poise, such a grasp for atmosphere. What has the body of a white mouse - held carefully, lovingly – to show us? What is art? And how can we live with death? We are thrilled that she has chosen us to help launch her first new set of poems since 2015. We have gasped, we have hung on every word, on every turn of phrase. We can't wait for you to see them!
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This book has taken a long time writing. Amerah has long been a fundamental part of the burgeoning Birmingham poetry scene – producing, mentoring, making things happen in the city. She is a wise old poetry head in the body of a young woman. She has rarely put her own incredible poetry first.And yet here it is, in book form at last.I Am Not From Here is a collection that twists and turns through the complexities of being Birmingham born but of Yemeni decent and culture; of being Muslim in a city of mixed faiths and in a country of little faith; of spending time in Yemen only to find that as a result you are refused entry to other countries and have forgotten how to live in yours; of losing loved ones too young (and when are we ever old enough for that?); of being split between the language and words of two tongues, and often finding that neither has the words you need; of facing hatred for acts that were none of your doing, and inner turmoil as your mind and body seek the solace and comfort of belonging to enable you to turn and face the world.This book contains and engages with all this. That it doesn't burst is down to the unique and unifying voice of Amerah's poetry. Brimming with emotion, anger, frustration, grief and love – the beauty of the imagery, the often breath-taking turns of phrase, the soaring imagination, the gently woven structure, all help to turn the torments and confusion of a fractured experience into something unique and compelling. Amerah, against so many odds, has achieved something whole here – a complete and vibrant piece of work.A consummate performer of great skill and passion, we know that hearing Amerah read these poems will take them to another level again. We can hardly wait!
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She / Sharena Lee Satti. - [miejsce nieznane] : Verve Poetry Press : Legimi, 2020.
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The poems in She cover an already long career as an inspiring live poet, host and workshopper – it is obvious straight away that Sharena has produced a formidable body of work. Her poems are real, raw and honest, addressing issues such as survival, cultural-identity, life's battles, self-love, body dysmorphia and many other subjects that people struggle to speak out about. Her love of nature is also evident. She rights with her emotions to the fore and her heart at the centre – with a power that can leave you breathless.
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What do we inherit from our mothers? From our grandmothers? From the legacy of colonisation and empire? Mother | Line, Ankita Saxena's debut poetry collection, charts lineage in all its forms, delving into female rage, compassion, and endurance. Drawing on the author's British Asian heritage and experiences growing up as a woman in an increasingly violent world, this collection weaves together the personal and the political in ghazals, odes and specular poems, which hold a mirror to the world and to themselves. "We are daughters of Kali", Saxena writes, and "mothers linger on the sides, hearing us become them; / our routines only theirs to thank for, our spices, / our blends, and even our greedy tongues. "A sublime and considered collection, speaking to, and spanning lineage, inheritance, friendship; what it can mean to be a girl, a woman in the world — across continents, oceans, time." - Rachel Long
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"What a powerful writer…. A Caribbean One Hundred Years of Solitude." Fay Weldon "Why was this book overlooked?" Salman Rushdie "Rare and magical. The first of its kind… wonderful evocative language; complete emotional range; a loving, touching insight into human and family relationships. Sam Selvon Witchbroom is a visionary history of a Caribbean Spanish/French Creole family and an island over four centuries to 20th-century independence. With an innovative tone and content, its carnival tales of crime and passion are told by the narrator Lavren, who is both male and female. First published in 1992, Witchbroom became a Caribbean classic. The follow-ing year it became a BBC Radio 4 Book at Bedtime, broadcast over eight nights and read by the author. It was shortlisted for a Commonwealth Writers Prize Best First Book. A pioneering work, it heralded a new generation of modernist Caribbean writers who, like Scott, broke away from a predominantly realist literary tradition; Witchbroom identifes more with magic realism. A richly entertaining and many layered read, its hermaphrodite narrator brings a contemporary flavour to the novel. The title Witchbroom refers to a fungus that attacks cocoa trees, and is also used as a metaphor for the decline of the island s plantocracy.
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Her first pamphlet since her debut full collection Platinum Blonde sees Phoebe Stuckes' trademark poems of high humour and hubris take on a dreamier, more abstract, quality. Perhaps the 'wise-cracking party girl' of her earlier work is sensing that, for a while at least, the party is postponed. There isn't much worth staying up late for any more in these poems. Instead, our character lies awake in bed long into the night or wakes up into a pre-dawn world they barely recognise. And the strange new rural setting they wake to is inviting and also threatening and therefore not to be trusted.Phoebe Stuckes remains one of the most exciting horrifying hilarious unsettling poets writing today. The One Girl Gremlin is of course an absolute triumph!
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Hannah describes her incredible debut collection of fresh and original poetry best…'I struggle to throw things away. Used envelopes, mostly. This is not only my debut collection of poetry, it is my hoard, my memory bank, my adventure into the known.'This dress has pockets exudes the feeling of finding a dress that fits in a charity shop for only £4.50 and it has the functionality of pockets that are deep enough to carry unsent love letters and conkers and those memories that you wish you could binge watch, or tape over.It is ethereal but memorable, surreal, but familiar, like a dream you weren't able to keep hold of. It is what it means to remember, what it means to grow up storing your thoughts close to you, in pockets of dresses that make you look alright until you sit down in them. Now is your time to dance in it, now is the time to empty your pockets and spin.'
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Ache / Scarlett Ward. - [miejsce nieznane] : Verve Poetry Press : Legimi, 2019.
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Scarlett Ward is an incredible young West Midlands poet as comfortable on the page as in performance, with a real ear for language and an imagination to match. Her debut collection, created with help and advice from Liz Berrry and others, doesn't disappoint, as it takes its Insta-concerns (Scarlett has 10k+ followers) of depression, insecurity, mental ill-health and the deep and powerful ache of a love found, and turns them in to quite startling poetry -at times as light as petals, at others as heavy and violent as a hob nail boot. Read, gasp, enjoy.
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Tree / Natalie Whittaker. - [miejsce nieznane] : Verve Poetry Press : Legimi, 2021.
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'one day I wake up and it's November / bare branches are faulty umbilical cords / failing to implant the sky'In Tree, Natalie Whittaker is writing about her personal experience of stillbirth and the mental illness that can follow such a traumatic event. It is a subject that is still rarely addressed in poetry, writing or conversation. That she is able to do so here, in eighteen intricate, carefully crafted poems, in a way that is engaging, communicative, distressing and yet also beautiful, is a testament to her abilities as a poet, her strong grasp on the power of language and the power of her imagination. With these powers, she brings a harrowing subject close up and enables the reader to truly feel, to see, to understand, to share. It is a brave and necessary work, wonderfully and heart-breakingly realised.
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Rushika Wick's poems are works of great imaginative power, both formally and in terms of their contents. In the exuberant opening poem of this collection, 'Diaries Of An Artist In Hiding', she is by turns the president, Matisse, a love letter, the weather, a badger; 'the experiment is boundless / like the imagination of a new subspecies /of giant squid / immeasurable and brilliant, / its owner perceived as a delicacy.' It is a poem that seems to stand as a sort of manifesto for the whole book, which feels like poetry that contains such energy it has started to wriggle free from the usual constraints of subject and form. But unlike so much experimental poetry, the reader is brought along for the ride and encouraged to feel the wind in their hair. Characters appear - Camille Claudel, Michael Knight, Lady Chatterley - only to vanish again in a single line once their work is done. Poetic forms are introduced only to be blown apart, words scattering across the page like paint-spatter, letters vanishing to reveal deeper truths. These poems are so full of life even as they acknowledge the stark realities that are a risk to life - also the very real presence of death. And everything is here. And trash is everywhere. And the wind is blowing it and us. It is exhilarating!'The poems in Rushika Wick's debut collection are like little time bombs, packed with shocking and beautiful truths about how we live, what and who we love, how we die. They often feel as if they've been translated from a mysterious language or passed on in whispers – their imagery is so rich and strange and compressed – but always in the moment and pushing against conventional lyric and form. She approaches her subjects with a forensic eye and a deft scalpel, getting to the heart of what's vital.'– Tamar Yoseloff
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'Toni Morrison once said, "If there's a book you want to read, but it hasn't been written yet, then you must write it."In 2016 four friends wrote the book they wish they'd had as 18 year-old women of colour going to study in the elite academic institution of Cambridge University. And what a book! Wonderful, fiery, radical and brave – it uses multiple voices and forms such as memoir, polemic, poetry, critical approaches – to document their experiences as women of colour in an institution that they had each discovered failed to validate or even acknowledge their heritage, their gender, their right to see themselves in their place of study.As a narrative and a testament, this patchwork book has been sewn together with extreme skill and moves through time as it moves through the different threads of its subject, addressing the curriculum, ways of teaching, visiting authors, student society and activism, with anger and energy and incredible readability. This book, its pace, its outrage, tells its truth in a way that is pretty much unputdownable.The experiences in this book rarely get to be heard and as a result they are rarely accepted as real. The book articulates both the feeling and the struggle to articulate the feeling of being in spaces built for others. As such, it is the book that many many more than it's four authors will want to read, a book that needed to be written and also needed to be published.
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Eighty Four. - [miejsce nieznane] : Verve Poetry Press : Legimi, 2019.
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Eighty Four is a new anthology of poetry on the subject of male suicide in aid of CALM (campaign against living miserably). Poems have been donated to the collection by Andrew McMillan, Salena Godden, Anthony Anaxogorou, Katrina Naomi, Ian Patterson, Carrie Etter, Peter Raynard and Joelle Taylor while a submissions window yielded many excellent poems on the subject from both known and hitherto unknown poets we are thrilled to have been made aware of. Curated by poet Helen Calcutt, Eighty-Four showcases human vulnerability in all its forms. From the baby in the bath who knows daddy is gone, to the woman whose father haunts her through the window, here is a diverse collection of voices, delicately speaking the intense difficulties of the human predicament, courageously engaging with the profound impact that male suicide is having on all of us. There's a glittering strength to this volume, because of the honesty from which its poems have been created, giving this book the truth it was seeking. We hope to shed light on an issue that is cast in shadow, and often shrouded in secrecy and denial. If we don't talk, we don't heal, and we don't change. In Eighty Four, we are talking. Are you listening?
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WHERE ELSE. - [miejsce nieznane] : Verve Poetry Press : Legimi, 2023.
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Featuring both established and emerging Hong Kong poets across generations and continents, this unique anthology offers a glimpse into an exciting, diverse range of voices that make up the diasporic imagination of the contemporary Hong Kong poetry community. Adopting a diasporic approach, the anthology encompasses both native Hong Kong writers as well as expatriate and mixed-race voices who were born or have lived in the city. With a preface from the Hong Kong-born, California-based poet Marilyn Chin and a joint introduction from the co-editors, the anthology sheds light on some poignant, wide-ranging themes such as migration, identity, gender, language, belonging, environment that underpin the city of Hong Kong, a place situated uniquely between the East and the West, in the 21st century. The book also features a selection of artworks from some of Hong Kong's most talented artists, inviting the reader to make connections between the visual images and the text.
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