Alice Oswald – författare

Woods etc. is Alice Oswald's third collection of poems, and follows the success of her widely acclaimed river-poem Dart, which was awarded the T. S. Eliot Prize in 2002. Extending the concerns of Dart and written over a period of several years, these poems combine abrupt honesty with an exuberant rhetorical confidence, at times recalling the oral and anonymous tradition with which they share such affinity.

Over the past three years Alice Oswald has been recording conversations with people who live and work on the River Dart in Devon. Using these records and voices as a sort of poetic census, she creates a narrative of the river, tracking its life from source to sea. The voices are wonderfully varied and idiomatic - they include a poacher, a ferryman, a sewage worker and milk worker, a forester, swimmers and canoeists - and are interlinked with historic and mythic voices: drowned voices, dreaming voices and marginal notes which act as markers along the way.

Falling Awake, winner of the Costa Award for Poetry, “give[s] us the sensation of living alongside the natural world, of being a spectator to the changes that mark our mortality” (Dan Chiasson, The New Yorker). Falling Awake expands on the imagery of fallen soldiers from Homer’s Iliad portrayed in her previous volume, Memorial—defining life as a slowly falling weight, where beings fight against their inevitable end. Oswald reimagines classical figures such as Orpheus and Tithonus alive in an English landscape together with shadows, flies, villagers, dew, crickets—all characterized in tension between the weight of death and their own willpower.FROM “VERTIGO”let me shuffle forwardand tell you the two minute life of rainstarting right nowlips open and lidless cold all-seeing gaze

An early work from the acclaimed poet of Memorial and Falling Awake, appearing for the first time in the United States.

Over the past three years Alice Oswald has been recording conversations with people who live and work on the River Dart in Devon. Using these records and voices as a sort of poetic census, she creates a narrative of the river, tracking its life from source to sea. The voices are wonderfully varied and idiomatic - they include a poacher, a ferryman, a sewage worker and milk worker, a forester, swimmers and canoeists - and are interlinked with historic and mythic voices: drowned voices, dreaming voices and marginal notes which act as markers along the way.

Taking for her subject our human planet, or what Robert Lowell called 'this sweet volcanic cone', Alice Oswald has chosen 101 poems which map the border between the personal and natural worlds. Including poems by William Barnes, Robert Frost, John Clare, Gerard Manley Hopkins, W.H. Auden, Stevie Smith, Ted Hughes, Hugh MacDiarmid, John Ashbery and many others, The Thunder Mutters: 101 Poems for the Planet casts its net worldwide, historically and geographically, engaging restlessly with the many-centred energies of the natural world.

In this series, a contemporary poet selects and introduces a poet of the past. By their choice of poems and by the personal and critical reactions they express in their prefaces, the editors offer insights into their own work as well as providing an accessible and passionate introduction to some of the greatest poets of our literature. Sir Thomas Wyatt was born in Kent in 1503 and educated at St John's College, Cambridge. He served Henry VIII as a diplomat in Europe but was imprisoned and almost executed for his close relationship with Anne Boleyn. On his release, Wyatt became Sheriff of Kent and later Ambassador to Spain, and died 1542 from a fever caught on a diplomatic mission.

POETRY BOOK SOCIETY CHOICEThe Thing in the Gap-Stone Stile, Alice Oswald's first collection of poems, announced the arrival of a distinctive new voice. Shortlisted for the T. S. Eliot Prize, the book introduced readers to her meditative, intensely musical style, and her breath-taking gift for visionary writing.'The poetry of Alice Oswald arrives like a zephyr . . . a fresh and exciting first collection.' Kathleen Jamie, Times Literary Supplement'an inspired debut of lightly-worn wisdom and verbal panache.' John Fuller'Alice Oswald throws the windows of the imagination open; she places a fingertip on the pulse of tradition, and proves it is still very much alive.' The Times

Weeds and Wild Flowers is a magical meeting of the poems of Alice Oswald and the etchings of Jessica Greenman. Within its pages everyday flora take on an extraordinary life, jostling tragically at times, at times comically, for a foothold in a busying world. Stunningly visualised and skilfully animated, this imaginative collaboration beckons us toward a landscape of botanical characters, and invites us to see ourselves among them.

'This is not a play. This is a poem in several registers, set at night on the Severn Estuary. Its subject is moonrise, which happens five times in five different forms: new moon, half moon, full moon, no moon and moon reborn. Various characters, some living, some dead, all based on real people from the Severn catchment, talk towards the moment of moonrise and are changed by it. The poem, which was written for the 2009 festival of the Severn, aims to record what happens when the moon moves over us - its effect on water and its effect on voices.'Alice OswaldA Sleepwalk on the Severn is a poem for several voices, set at night on the Severn Estuary. Its subject is moonrise, which happens five times in five different forms: new moon, half moon, full moon, no moon and moon reborn. Various characters, some living, some dead - all based on real people from the Severn catchment - talk towards the moment of moonrise and are changed by it. Commissioned for the 2009 festival of the Severn, Alice Oswald's breathtakingly original new work aims to record what happens when the moon moves over the sublunary world: its effect on water and its effect on language.

Over the past three years Alice Oswald has been recording conversations with people who live and work on the River Dart in Devon. Using these records and voices as a sort of poetic census, she creates a narrative of the river, tracking its life from source to sea. The voices are wonderfully varied and idiomatic - they include a poacher, a ferryman, a sewage worker and milk worker, a forester, swimmers and canoeists - and are interlinked with historic and mythic voices: drowned voices, dreaming voices and marginal notes which act as markers along the way.

Woods etc. is Alice Oswald's third collection of poems, and follows the success of her widely acclaimed river-poem Dart, which was awarded the T. S. Eliot Prize in 2002. Extending the concerns of Dart and written over a period of several years, these poems combine abrupt honesty with an exuberant rhetorical confidence, at times recalling the oral and anonymous tradition with which they share such affinity.

POETRY BOOK SOCIETY CHOICEThe Thing in the Gap-Stone Stile, Alice Oswald's first collection of poems, announced the arrival of a distinctive new voice. Shortlisted for the T. S. Eliot Prize, the book introduced readers to her meditative, intensely musical style, and her breath-taking gift for visionary writing.'The poetry of Alice Oswald arrives like a zephyr . . . a fresh and exciting first collection.' Kathleen Jamie, Times Literary Supplement'an inspired debut of lightly-worn wisdom and verbal panache.' John Fuller'Alice Oswald throws the windows of the imagination open; she places a fingertip on the pulse of tradition, and proves it is still very much alive.' The Times

Weeds and Wild Flowers is a magical meeting of the poems of Alice Oswald and the etchings of Jessica Greenman. Within its pages everyday flora take on an extraordinary life, jostling tragically at times, at times comically, for a foothold in a busying world. Stunningly visualised and skilfully animated, this imaginative collaboration beckons us toward a landscape of botanical characters, and invites us to see ourselves among them.

'This is not a play. This is a poem in several registers, set at night on the Severn Estuary. Its subject is moonrise, which happens five times in five different forms: new moon, half moon, full moon, no moon and moon reborn. Various characters, some living, some dead, all based on real people from the Severn catchment, talk towards the moment of moonrise and are changed by it. The poem, which was written for the 2009 festival of the Severn, aims to record what happens when the moon moves over us - its effect on water and its effect on voices.'Alice OswaldA Sleepwalk on the Severn is a poem for several voices, set at night on the Severn Estuary. Its subject is moonrise, which happens five times in five different forms: new moon, half moon, full moon, no moon and moon reborn. Various characters, some living, some dead - all based on real people from the Severn catchment - talk towards the moment of moonrise and are changed by it. Commissioned for the 2009 festival of the Severn, Alice Oswald's breathtakingly original new work aims to record what happens when the moon moves over the sublunary world: its effect on water and its effect on language.

Matthew Arnold praised the Iliad for its 'nobility', as has everyone ever since -- but ancient critics praised it for its enargeia, its 'bright unbearable reality' (the word used when gods come to earth not in disguise but as themselves). To retrieve the poem's energy, Alice Oswald has stripped away its story, and her account focuses by turns on Homer's extended similes and on the brief 'biographies' of the minor war-dead, most of whom are little more than names, but each of whom lives and dies unforgettably - and unforgotten - in the copiousness of Homer's glance. 'The Iliad is an oral poem. This translation presents it as an attempt - in the aftermath of the Trojan War - to remember people's names and lives without the use of writing. I hope it will have its own coherence as a series of memories and similes laid side by side: an antiphonal account of man in his world... compatible with the spirit of oral poetry, which was never stable but always adapting itself to a new audience, as if its language, unlike written language, was still alive and kicking.' - Alice Oswald

Matthew Arnold praised the Iliad for its 'nobility', as has everyone ever since -- but ancient critics praised it for its enargeia, its 'bright unbearable reality' (the word used when gods come to earth not in disguise but as themselves). To retrieve the poem's energy, Alice Oswald has stripped away its story, and her account focuses by turns on Homer's extended similes and on the brief 'biographies' of the minor war-dead, most of whom are little more than names, but each of whom lives and dies unforgettably - and unforgotten - in the copiousness of Homer's glance. 'The Iliad is an oral poem. This translation presents it as an attempt - in the aftermath of the Trojan War - to remember people's names and lives without the use of writing. I hope it will have its own coherence as a series of memories and similes laid side by side: an antiphonal account of man in his world... compatible with the spirit of oral poetry, which was never stable but always adapting itself to a new audience, as if its language, unlike written language, was still alive and kicking.' - Alice Oswald

**WINNER OF THE LONDON HELLENIC PRIZE 2019**'Alice Oswald is at the height of her powers in...this electrifying new work' ObserverThis is a book-length poem - a collage of water-stories, taken mostly from the Odyssey - about a minor character, abandoned on a stony island. It is not a translation, though, but a close inspection of the sea that surrounds him. There are several voices in the poem but no proper names, although its presiding spirit is Proteus, the shape-shifting sea-god. We recognise other mythical characters - Helios, Icarus, Alcyone, Philoctetes, Calypso, Clytemnestra, Orpheus, Poseidon, Hermes - who drift in and out of the poem, surfacing briefly before disappearing.Reading Nobody is like watching the ocean: a destabilising experience that becomes mesmeric, almost hallucinatory, as we slip our earthly moorings and follow the circling shoal of sea voices into a mesh of sound and light and water - fluid, abstract, and moving with the wash of waves. As with all of Alice Oswald's work, this is poetry that is made for the human voice, but this poem takes on the qualities of another element: dense, muscular and liquid.one person has the character of dustanother has an arrow for a soulbut their sto ries all endsomewherein the sea'An invigorating book-length poem' Sara Wheeler

‘It is in very truth a sunny, misty, cloudy, dazzling, howling, omniform Day...’ – Samuel Taylor Coleridge to William Sotheby, 27 September 1802This anthology of poems and prose ranges from literary weather – Homer’s winds, Ovid’s flood – to scientific reportage, whether Pliny on the eruption of Vesuvius or Victorian theories of the death of the sun. It includes imaginary as well as actual responses to what is transitory, and reactions both formal and fleeting – weather rhymes, journals and jottings, diaries and letters – to the drama unfolding above our heads.The entries narrate the weather of a single capricious day, from dawn, through rain, volcanic ash, nuclear dust, snow, light, fog, noon, eclipse, hurricane, flood, dusk, night and back to dawn again. Rather than drawing attention to authors and titles, entries appear bareheaded, exposed to each other’s elements, as a medley of voices. Rather than adding to our image of nature as a suffering solid, the anthology attends to patterns, events and forces: seasonal and endless, invisible, ephemeral, sudden, catastrophic. And by assembling a chorus of responses (ancient and modern, East and West) to air’s manifold appearances, Gigantic Cinema offers a new perspective on what is the oldest conversation of all.

Winner of the 2017 Griffin PrizeWinner of the 2016 Costa Poetry AwardShortlisted for the 2016 T. S. Eliot AwardShortlisted for the 2016 Forward PrizeA Daily Telegraph / Guardian / Herald / New Statesman / Sunday Times / Times Literary Supplement Book of the YearAlice Oswald’s poems are always vivid and distinct, alert and deeply, physically, engaged in the natural world. Mutability – a sense that all matter is unstable in the face of mortality – is at the heart of this new collection and each poem is involved in that drama: the held tension that is embodied life, and life’s losing struggle with the gravity of nature.Working as before with an ear to the oral tradition, these poems attend to the organic shapes and sounds and momentum of the language as it’s spoken as well as how it’s thought: fresh, fluid and propulsive, but also fragmentary, repetitive. These are poems that are written to be read aloud.Orpheus and Tithonus appear at the beginning and end of this book, alive in an English landscape, stuck in the clockwork of their own speech, and the Hours – goddesses of the seasons and the natural apportioning of Time – are the presiding figures. The persistent conditions are flux and falling, and the lines are in constant motion: approaching, from daring new angles, our experience of being human, and coalescing into poems of simple, stunning beauty.

**WINNER OF THE LONDON HELLENIC PRIZE 2019**'Alice Oswald is at the height of her powers in...this electrifying new work' ObserverThis is a book-length poem - a collage of water-stories, taken mostly from the Odyssey - about a minor character, abandoned on a stony island. It is not a translation, though, but a close inspection of the sea that surrounds him. There are several voices in the poem but no proper names, although its presiding spirit is Proteus, the shape-shifting sea-god. We recognise other mythical characters - Helios, Icarus, Alcyone, Philoctetes, Calypso, Clytemnestra, Orpheus, Poseidon, Hermes - who drift in and out of the poem, surfacing briefly before disappearing.Reading Nobody is like watching the ocean: a destabilising experience that becomes mesmeric, almost hallucinatory, as we slip our earthly moorings and follow the circling shoal of sea voices into a mesh of sound and light and water - fluid, abstract, and moving with the wash of waves. As with all of Alice Oswald's work, this is poetry that is made for the human voice, but this poem takes on the qualities of another element: dense, muscular and liquid.one person has the character of dustanother has an arrow for a soulbut their sto ries all endsomewherein the sea'An invigorating book-length poem' Sara Wheeler

'This book is a living, guiding, singing thing... I will cherish it and revisit it as long as I live' Max Porter'One of the finest living poets writing in English' Raymond AntrobusA daring, genre-defying work of non-fiction from one of our greatest poetsAlice Oswald goes in search of poetry in its original, wildest form – before it was written down, before it belonged to a single voice – and finds it still speaking all around us.What begins as an attempt to ‘interview’ Homer becomes a thrilling exploration of an anonymous tradition that exists beyond authorship, spanning a world of singers, storytellers, mourners and listeners, of nightingales, grasshoppers and rivers.Zigzagging through ballads, riddles, pibrochs, drama, interviews, artificial intelligence and sonnets, Rhapsody is a restless, miraculous exploration of poetry in its most vital form, and a resounding manifesto for the oral tradition.At once intimate and expansive, Oswald invites us to listen to the voices that shape us, and to recognise poetry not as a solitary, written art, but as a communal, essential human inheritance.

‘It is in very truth a sunny, misty, cloudy, dazzling, howling, omniform Day...’ – Samuel Taylor Coleridge to William Sotheby, 27 September 1802This anthology of poems and prose ranges from literary weather – Homer’s winds, Ovid’s flood – to scientific reportage, whether Pliny on the eruption of Vesuvius or Victorian theories of the death of the sun. It includes imaginary as well as actual responses to what is transitory, and reactions both formal and fleeting – weather rhymes, journals and jottings, diaries and letters – to the drama unfolding above our heads.The entries narrate the weather of a single capricious day, from dawn, through rain, volcanic ash, nuclear dust, snow, light, fog, noon, eclipse, hurricane, flood, dusk, night and back to dawn again. Rather than drawing attention to authors and titles, entries appear bareheaded, exposed to each other’s elements, as a medley of voices. Rather than adding to our image of nature as a suffering solid, the anthology attends to patterns, events and forces: seasonal and endless, invisible, ephemeral, sudden, catastrophic. And by assembling a chorus of responses (ancient and modern, East and West) to air’s manifold appearances, Gigantic Cinema offers a new perspective on what is the oldest conversation of all.

Archipelago is one of the most important and influential literary magazines of the lasttwenty years. Running to twelve editions, it was edited by Andrew McNeillie, with theassistance later of James McDonald Lockhart, and began as an attempt to reimagine therelationships between the islands of Ireland and Britain. Archipelago has brought togetherestablished and emerging artists in creative conversations that have transformed the studyof islands, coasts and waterways. It journeys from the Shetlands to Cornwall, from theAran Islands to the coast of Yorkshire, tracing the cultures of diverse zones through someof the best in contemporary writing about place and people.This collection gathers poetry, prose and visual art in clusters grouped around the Irishand British archipelago, with contributions from an array of significant artists. It includesnewly commissioned work as well as an interview between Andrew McNeillie andRobert Macfarlane on the development of Archipelago across the years.