Andrew Motion – författare

This comprehensive edition draws on Andrew Motion's distinguished body of work from Secret Narratives (1983) to his most recent volume, Randomly Moving Particles (2020), and includes a substantial selection of new and previously uncollected poems.Certain preoccupations unite the book, which from first to last is particularly concerned with the ways in which our lives are shaped by loss - by wars, by accidents, by the erosion of time and by grief. Motion is an energetic and protean spirit, a listener and a watcher, and while his poems mostly develop his themes by using intimate and lyric forms, they also sometimes adapt from direct speech and documentary sources. In every case, and especially movingly in the long poem 'Essex Clay', Motion uses acts of personal witness to reflect the vulnerabilities of the world at large.These are extraordinary poems of and for our times, enlarging our sense of the cost of human experience even as they refine those sensibilities that keep us most alive and engaged with the present. 'Andrew Motion is one of the essential English poets of our time.' John Burnside'Motion's greatest and most distinctive gift . . . is to look squarely at the world and describe it with a plain and unsentimental eloquence that makes worldly value seem all the more questionable.' Bernard O'Donoghue, Independent on Sunday

From the former Poet Laureate, a remarkable contemplation of departure and return.Andrew Motion's new collection gives a moving account of the friction and interplay between past and present. In the opening elegies for friends and former versions of the self, and in the long title sequence which completes the book, he explores the ways in which regrets compete with hope, and the appetite for life is always a prey to hard facts of mortality. The energy and reach of these poems opens a new chapter in Motion's writing, remaining true to the elegiac subjects which have always been his main concern, while adding new depths of pathos and resonance.

THE END OF THE WORLDOR THE BEGINNING…On to the shores of Texas a raging sea coughs up two castaways: Jim and Natty, shipwrecked on their way home from Treasure Island.The Nightingale sunk, their silver gone, captured, weak and afraid, the pair steal a treasure they should have left well alone.The adventure of the New World lies in wait…

'A tremendous sentimental education of a book ... scholarly discernment mixed with a wild-card flair ... an exceptional anthology, fascinating and unignorable' Kate Kellaway, Observer (Poetry Book of the Month)Elegy is among the world's oldest forms of literature. Born in Ancient Greece, practised by the Romans, revitalized by the poets of the Renaissance and continuing down to the present day, it speaks eloquently and affectingly of the experience of loss and the yearning for consolation. It gives shape and meaning to memories too painful to contemplate, and answers our desire to fix in words what would otherwise slip our grasp.In The Penguin Book of Elegy, Andrew Motion and Stephen Regan trace the history of this tradition, from its Classical roots in the work of Theocritus, Virgil and Ovid down to modern compositions exploring personal tragedy and collective grief by such celebrated voices of the twentieth and twenty-first centuries as Dylan Thomas, Elizabeth Bishop, Linton Kwesi Johnson and Denise Riley.The only comprehensive anthology of its kind in the English language, The Penguin Book of Elegy is a profound and moving compendium of the fundamentally human urges to remember and honour the dead, and to give comfort to those who survive them.

'A tremendous sentimental education of a book ... a literary adventure ... chosen with a scholarly discernment mixed with a wild-card flair ... fascinating and unignorable' Kate Kellaway, Observer (Poetry Book of the Month)'If you have any weakness at all for poetry, this book will draw you in, then devastate you' Susie Goldsbrough. The TimesElegy is among the world's oldest forms of literature. Born in Ancient Greece, practised by the Romans, revitalized by the poets of the Renaissance and continuing down to the present day, it speaks eloquently and affectingly of the experience of loss and the yearning for consolation. It gives shape and meaning to memories too painful to contemplate, and answers our desire to fix in words what would otherwise slip our grasp.In The Penguin Book of Elegy, Andrew Motion and Stephen Regan trace the history of this tradition, from its Classical roots in the work of Theocritus, Virgil and Ovid down to modern compositions exploring personal tragedy and collective grief by such celebrated voices of the twentieth and twenty-first centuries as Dylan Thomas, Elizabeth Bishop, Linton Kwesi Johnson and Denise Riley.The only comprehensive anthology of its kind in the English language, The Penguin Book of Elegy is a profound and moving compendium of the fundamentally human urges to remember and honour the dead, and to give comfort to those who survive them.

Familiar poems and almost unknown poems. Love poems and war poems. Funny poems and heartbroken poems. Poems that re-create the world we know and poems written on the dark side of the moon. Poetry by Heart is an essential collection of over 200 poems, from Geoffrey Chaucer to Emily Dickinson, from Christina Rossetti to Benjamin Zephaniah, all carefully chosen for their suitability for learning and reciting. This is an anthology which celebrates the age-old pleasure of reciting poems - an anthology for all ages to treasure.

Poetry by Heart - based on the hugely successful nationwide schools competition, 200 magical poems to learn by heart'The poems we learn stay with us for the rest of our lives. They become personal and invaluable, and what's more they are free gifts - there for the taking' Simon ArmitageTwo years ago former Poet Laureate Andrew Motion had the idea of setting up Poetry by Heart - a nationwide annual competition for secondary schools which asked contestants to learn two or three poems and be judged on their recitations, first at school level, then regional, then in a national final held at London's National Portrait Gallery. It's proved a huge success, with hundreds of schools participating in the first year, and numbers up by 20% in the second. Coinciding with the start of the third year of competition, and published on National Poetry Day whose theme coincidentally in 2014 is Recitation, this Poetry by Heart anthology brings together the pool of poems - 200 altogether - from which contestants make their choices. Specially picked by Motion and his three co-editors, these poems make up a treasure house - of almost-unknown poems and familiar poems from the mainstream; love poems and war poems; funny poems and heartbroken poems; poems that recreate the world we know and poems written on the dark side of the moon. And all chosen with a view to their being recited out loud.From William Wordsworth to Wilfred Owen, Emily Brontë to Elizabeth Bishop this wonderfully enjoyable anthology will be enjoyed by all ages and includes the best poets from the past to the present day. In a groundbreaking feature, the book includes QR codes which allow readers to use their mobile phones to listen to recordings of the poems - many of them specially recorded by the poets themselves. Sir Andrew Motion was Poet Laureate from 1999 till 2009, and is Professor of Creative Writing at Royal Holloway College, London. Jean Sprackland'sTilt won the Costa Poetry award in 2008. She is a Reader in Poetry at Manchester Metropolitan University. Julie Blake is co-Founder and Director of The Full English, an organization based in Bristol which provides support to teachers of English Literature. Mike Dixon is an educational consultant specializing in English in the classroom.

Philip Larkin is recognised as one of the most important writers to have emerged in Britain since the Second World War. First published in 1982, Andrew Motion’s study begins with an account of Larkin’s life and literary background and discusses his literary relationship with Hardy and Yeats and his association with the Movement. He analyses Larkin’s two novels and assesses his three mature collections. Throughout the book much reference is made to uncollected reviews and articles and occasionally to unpublished manuscripts. Rather than developing the familiar line on Larkin as an empirical and melancholy writer, Andrew Motion explores the Symbolist and transcendent element in his work, and emphasises its range and variety.

Philip Larkin is recognised as one of the most important writers to have emerged in Britain since the Second World War. First published in 1982, Andrew Motion’s study begins with an account of Larkin’s life and literary background and discusses his literary relationship with Hardy and Yeats and his association with the Movement. He analyses Larkin’s two novels and assesses his three mature collections. Throughout the book much reference is made to uncollected reviews and articles and occasionally to unpublished manuscripts. Rather than developing the familiar line on Larkin as an empirical and melancholy writer, Andrew Motion explores the Symbolist and transcendent element in his work, and emphasises its range and variety.

John Keats (1795-1821) abandoned a career in medicine to write poetry, until his life was cut tragically short from tuberculosis at the age of twenty-five. By that time, he had published three volumes of verse to an unreceptive critical response. But as the nineteenth century wore on Keats's reputation would build, and today he is recognised as one of the greatest of the Romantic poets.

'A wonderful read.' Irish Times'Sad, gripping and powerful.' Margaret Drabble'Superbly clear, intimate and evocative.' New York TimesFrom the former poet laureate, Andrew Motion, In the Blood is an unforgettable evocation of family, school and country life. By turns funny, heartbreaking and elegiac, it is also a deeply affectionate portrait of the bond between mother and son.'Brilliantly achieved and novel-like . . . Vivid and poignant.' Guardian'The most moving and exquisitely written account of childhood loss I have ever read.' Independent on Sunday'Deeply engaging. The innocence and the hardness of childhood are beautifully put together . . . A strikingly good book, framed by tragedy but full of intense life.' Helen Dunmore'Every word, sentence and chapter, one drinks down with a joy because it is so artfully and beautifully composed.' Irish Times

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 the most important poets in our literature.William Barnes was born in 1801 near Sturminster Newton in Dorset, of a farming family. He learned Greek, Latin and music, taught himself wood engraving, and in 1823 became a schoolmaster in Mere. He was deply interested in grammar and language, and waged a lifelong campaign to rid English of classical and foreign influences. Among his best-known books of poetry are Poems of Rural Life in the Dorset Dialect (1844) and Homely Rhymes (1859. His work has often been praised for its evocations of Dorset life, landscape and customs; he also wrote political poems of great power and was a master elegist. Barnes died in 1886.

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 the most important poets in our literature.A thing of beauty is a joy for ever:Its loveliness increases; it will neverPass into nothingness; but still will keepA bower quiet for us, and a sleepFull of sweet dreams, and health, and quiet breathing.-- Endymion

Andrew Motion's new collection (his first since Public Property in 2002) offers a ground-breaking variety of lyrics, love poems and elegies, in which private domains of feeling infer other lives and a shared humanity - exploring how people cope with threats to and in the world around them, as soldiers, lovers, artists, writers and citizens. The conversational tone and formal variety of these poems both shapes and diversifies their response to loss and its inevitabilities. Here are poems about the last surviving veteran of the trenches; poems which work with found materials drawn from the contiguous worlds of prose; poems which elicit the parallel lives glimpsed in paintings, or the other lives of birds, trees and weather (as of an ordinariness just out of reach). An unemphatic evenness of handling, in the detailing of ordinary destinies, alternates with capacious panoramas of longing and summation, and the collection ends with a remarkable group of directly autobiographical poems about the life and times of the poet's father.

Love in a Life, Andrew Motion's sixth volume of poetry, marks a conspicuous development in the work of the founder of the modern Narrative School. Directness and a new colloquialism are wedded to Motion's distinctive obliquities in a volume where the idea of marriage governs the architecture of each poem and the book as a whole. The stories of two marriages gradually emerge, like chapters in a narrative, and are themselves bound to more public material, so that each lends profound resonances to the other.

This volume brings together two long poems. 'Lines of Desire' tells the story of an individual in crisis, under pressure from past and present events. 'Joe Soap' combines narrative and lyric forms to trace a historical pattern reaching from the First World War to contemporary apocalypse. Both are remarkable additions to an important body of work.

In this book Andrew Motion has made his own choice from his outstandingly fine and varied body of work. Dramatic monologues, elegies, poems of social and political observation, love lyrics - all are part of this important poet's repertoire. Andrew Motion's concern for the extremes of human experience and the artistic integrity that insists on his addressing the reader with maximum clarity and impact are consistent features of a career otherwise remarkable for its imaginative range and technical versatility.

In his first collection since being appointed Poet Laureate, Andrew Motion negotiates the very space of poetry, moving between private and public realms, pondering each from the other's borders. In the opening series of idylls he conjures the expeditionary narratives of a rural childhood, in scenes as precisely remembered as they are irretrievable. Elsewhere he reconsiders moments from the Victorian past from reticent and surprising angles, and elsewhere again he tackles distinctly contemporary themes and situations. The final section of the book contains a number of elegies and love poems, written in a variety of lyric forms, which provoke concerns that are among the most critical in poetry: What is public art? To whom do our most private sentiments belong?

Philip Larkin: A Writer's Life won the Whitbread Award for Biography in 1993 and was championed as 'an exemplary biography of its kind' (The Times). With a new introduction written by the author, this edition offers an engrossing portrait of one of the twentieth century's most popular, and most private, poets. 'There will be other lives of Larkin, but Motion's, like Forster's of Dickens, will always have a special place.' John Carey, Sunday Times'Larkin lived a quietly noble and exemplary version of the writer's life; Motion - affectionate but undeceived about the man's frailties, a diligent researcher and a deft reader of poetry - has written an equally exemplary 'Life' of him.' Peter Conrad, Observer'Honest but not prurient, critical but also compassionate, Motion's book could not be bettered.' Alan Bennett, London Review of Books

Keats is the first major biography of this tragic hero of romanticism for some thirty years, and it differs from its predecessors in important respects. The outline of the story is well known - has become, in fact, the stuff of legend: the archetypal life of the tortured genius, critically spurned and dying young.What Andrew Motion brings to bear on the subject is a deep understanding of how Keats fitted into the intellectual and political life of his time. Important friendships with such anti-establishment figures as William Hazlitt and Leigh Hunt are given their full due, and the closeness of his own spirit, as expressed in his poems, to the ferment all around is made clear. Many significant new facts about Keats's schooldays and medical training, in particular, enrich the picture. Keats emerges as a more political figure than he is usually portrayed, but his personal sufferings, too, come into closer focus. Most importantly, Andrew Motion - himself a distinguished poet and former poet laureate - demonstrates how the poems continue to exert their power. 'A definitive life of a great poet, and one of the finest biographies of the decade.' New Statesman

Andrew Motion's new book opens with a sequence of war poems (first published as the pamphlet Laurels and Donkeys, on Armistice Day 2010), drawing on soldiers' experiences of war from 1914 until today - beginning with a story about Siegfried Sassoon and moving via World War Two and Korea to the recent conflicts in Iraq and Afghanistan. Many of the poems are in the voices of combatants, others are based on memories of the poet's father, who landed at D-day and fought in France and Germany. The poems combine understatement with a clear-eyed and unswerving candour.The Customs House has other rooms: a group of topographies, mapping moments in a marriage against the contingencies of place and family history; and several 'found poems', in which the poet collaborates with his source, mixing what is there already with what is about to be there: whether a remarkable sonnet sequence on the last days of the Baroque genius Francesco Borromini, or in other poems a richly imagined extrapolation from the silent premises of a painting.

Andrew Motion's first work of biography won a Somerset Maugham Award in 1987.'A biographical triumph.' Observer'The story of the three Lamberts is as cruel and horrifying as any Greek tragedy... Its portrayal of the way in which the Lamberts instinctively yet unintentionally assisted in the destruction of their own offspring makes for truly compulsive reading.' Harpers and Queen'Motion's project is not just to tell the story of passing generations, which he does very readably and well, but necessarily also to describe and evaluate aspects of English culture - revivalist painting, classical music in the Twenties and Thirties, the foundation of a native ballet, pop music in the Sixties - which he does with considerable confidence and resource.' London Review of Books

'A bald summary does no justice to the subtlety and exceptional lucidity of a book which turns the bland, familiar, intrinsically worthy stuff of so many fictional family sagas into a biographical triumph.' Observer'Motion has given us an exemplary piece of research, and a comparison of three eras that is of compelling interest, not least in showing what damage one generation does to the next.' Sunday Times'The story of the three Lamberts is as cruel and horrifying as any Greek tragedy. What it may lack in grandeur it makes up for in being true and recent. Its portrayal of the way in which the Lamberts instinctively yet unintentionally assisted in the destruction of their own offspring makes for truly compulsive reading.' Harpers and Queen

The second half of Andrew Motion's new collection returns to the sequence begun in Laurels and Donkeys, completing a body of work recognised by the Wilfred Owen Poetry Award in 2014. These meditations on combat and the people caught up in it look back to conflicts of the past: to the 'war to end all wars'; to Rupert Brooke on his final journey; to Wilfred Owen at Craiglockhart War Hospital; to Archduke Franz Ferdinand on the day of his fatal shooting. But Motion also depicts the ravages of modern warfare through reported speech, redacted documents, and vivid evocations of place, his plain understatement bringing the magnitude of war home to our own shores.These poems are moving and measured, delicate and clear-eyed, and bear witness to the futility of war and the suffering of those left behind.Elsewhere we find biographies in miniature, dreams and visions, family histories, which in their range of forms and voices consider questions of identity, and character. These are poems of remembrance in which Motion's war poems, all in their own way elegies, find a natural partner. Peace Talks is a wise and compassionate work.

The second half of Andrew Motion's new collection returns to the sequence begun in Laurels and Donkeys, completing a body of work recognised by the Wilfred Owen Poetry Award in 2014. These meditations on combat and the people caught up in it look back to conflicts of the past: to the 'war to end all wars'; to Rupert Brooke on his final journey; to Wilfred Owen at Craiglockhart War Hospital; to Archduke Franz Ferdinand on the day of his fatal shooting. But Motion also depicts the ravages of modern warfare through reported speech, redacted documents, and vivid evocations of place, his plain understatement bringing the magnitude of war home to our own shores.These poems are moving and measured, delicate and clear-eyed, and bear witness to the futility of war and the suffering of those left behind.Elsewhere we find biographies in miniature, dreams and visions, family histories, which in their range of forms and voices consider questions of identity, and character. These are poems of remembrance in which Motion's war poems, all in their own way elegies, find a natural partner. Peace Talks is a wise and compassionate work.

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 the most important poets in our literature.A thing of beauty is a joy for ever:Its loveliness increases; it will neverPass into nothingness; but still will keepA bower quiet for us, and a sleepFull of sweet dreams, and health, and quiet breathing.-- Endymion

Andrew Motion's prose memoir In the Blood (2006) was widely acclaimed, praised as an act of magical retrieval and a hymn to familial love. Now, over a decade later and after moving to live and work in the United States, Motion looks back once more to recreate a stunning biographical sequel - but this time in verse. Essex Clay rekindles, expands and gives a tragic resonance to subjects that have haunted the poet throughout his writing life. In the first part, he tells the story of his mother's riding accident, long unconsciousness and slow death; in the second, he remembers the end of his father's life; and in the third, he describes an encounter that deepens the poem's tangled themes of loss and memory and retrieval. Although the prevailing mood of the poem has a sweeping Tennysonian melancholy, its wealth of physical details and its narrative momentum make it as compelling as a fast-paced novel: a settling of accounts which admits that final resolutions are impossible.

Andrew Motion's prose memoir, In the Blood (2006), was widely acclaimed, praised as 'an act of magical retrieval' (Daily Telegraph) and 'a hymn to familial love' (Independent). Now, having left UK shores and the bounds of his laureateship, Motion looks back once more to recreate a stunning biographical sequel - but this time, in verse.Essex Clay rekindles, expands and gives a tragic resonance to subjects that have haunted Andrew Motion throughout his writing life. In the first part he tells the story of his mother's riding accident, long unconsciousness and slow death; in the second he remembers the end of his father's much longer life; in the third he describes an encounter that deepens the poem's tangled themes of loss and memory and retrieval. Although the prevailing mood of the poem has a Tennysonian sweep and melancholy, its wealth of vivid physical details and its narrative momentum make it as compelling as a fast-paced novel: a settling of accounts which admits that final resolutions are impossible.