Brendan Kennelly – författare

Buffún is wracked by the living nightmare of Irish history. His torments are surreal but no less frightening than the awful truth. When Oliver Cromwell turns up, the hapless buffoon can't cope. This Cromwell is a cocky tyrant who wants to run a football team, or start a taxi business. Enter the Belly, the IRA, an Irish giant, and Billy of the Boyne: 'William of Orange is polishing pianos / In convents and other delicate territories, / His nose purple from sipping turpentine.' Kennelly's Cromwell delighted and scandalised readers in Ireland when it was first published by a small Dublin press in 1983. This extraordinary, extravagantly Irish act of revenge has retained its power to shock.

A rich treasury of writing by and about Ireland's women.

Brendan Kennelly''s Guff is both mouthpiece and mouthed off, Devil''s advocate and self critic, everyman and every writer consumed by self-doubt and self-questioning. The book of Guff is about words writing the man. Words drive him into the cave of himself where he questions everything including words that seem to constitute answers and answers that question both questions and answers. Do poets write poems or do poems write poets? And consider the shape of that question-mark, like a snake twisting in its sleep: so twisting, or twisted snakes, lie beside Guff as he tries to sleep in his cave, led now by the words that the snake hisses in his old head. All through his book-length poem Guff hears both the hissing of the words he believes he loves as well as the hissing mysteries of love. Guff is prey to the ruthless continuity of one word leading to another, until these words relax and settle down into what he thinks, or hopes, is "meaning". Like Kennelly''s Cromwell, The Book of Judas and Poetry My Arse, Guff is a knockabout Swiftian satire, a mischievous meditation on the human condition. It''s also a powerfully expressive hymn to life with all its flaws, a snaking poem with the movement of a river in its different moods from cold anger to summer warmth for minds and bodies, which asks who or what is a genuinely noble person? Dublin is the backdrop to Guff''s jabbering quest, a city where haunted men walk the streets talking to themselves, at times with passion, at times with an air of secrecy or self-accusation, at times as if seeking a friend prepared to listen. Guff is a brother to these strange wanderers. In the poem he becomes at one or at odds with them.

Fairoz is a book-length poetry sequence in which Moniza Alvi explores an imagined teenage girl’s susceptibility to extremism. The book’s fragmented, collaging narrative draws together fairytale elements, glimpses of Fairoz’s thoughts, and pieces of dialogue. A folkloric representation of God and the devil acts as a wry counterpoint, touching on questions of morality. Fairoz is a powerful portrayal of human vulnerability.

The Heavy Bear Who Goes With Me is the ultimate reader’s companion to poetry: a selection of 100 classic poems from ?ve centuries with lively “companion” commentaries to go with and illuminate each poem. The heavy bear can be many things which go with the bearer: another self or alter ego, the burden of poetry or art, what weighs us down and makes us do what we don’t really want to do as well as what pulls us back to our selves, the animal side which makes us bearable or human. The editors’ selection ranges from Wyatt, Ralegh and Shakespeare in the 16th century, to Donne, Milton and Marvell in the 17th, to Swift, Pope and Johnson in the 18th. It embraces the Romantic visions of Blake, Wordsworth, Coleridge, Shelley and Keats, as well as the later, darker outlook of Browning, Tennyson and Hardy, and seeks enlightenment in the shadowlands of Emily Dickinson, Wilde and Yeats.As well as journeying with the reader through some of the greatest poems in the English language, The Heavy Bear encounters many modern poets, not least Delmore Schwartz, whose sense of con?ict between self and society gave birth to this anthology’s title-poem, ‘The Heavy Bear Who Goes With Me’. Others include some of the major figures in Irish poetry Brendan Kennelly knew personally as well as wrote about, including Patrick Kavanagh, Seamus Heaney, Michael Longley, Derek Mahon and Eavan Boland.The poems keep each other company in this highly original compilation, questioning each other in a continuing thematic, imagistic debate which the editors seek to explore in their responses, trying at all times to de?ne their sense and vision of poetry as disturbing, questioning, enlightening companionship for the reader. Both editors are renowned communicators of poetry: Brendan Kennelly (1936-2021) as one of Ireland’s best-loved poets, as Professor of Modern Literature at Trinity College Dublin, and as a popular cultural commentator on Irish television; Neil Astley as founder and editor of Bloodaxe Books and editor of the Staying Alive anthology series.

In a frantic world, the momentary glimpse can spark a sudden flash of insight. This resonating glimpse-caught on the move-ripples through the mind, illuminating past and present, fast-forwarding in a split second to reveal future possibilities. But in an instant it is gone, lost in the bustle of everyday life. In Glimpses, Brendan Kennelly opens his eyes-and ours-to the world and times we rush through without looking. With their quick fire wit and timeless wisdom, his glimpse-poems are in the tradition of riddles, epigrams, and proverbs. Sublime or profane, joyous or crazily raucous, Kennelly's vivid glimpses have a life of their own, leaping beyond the words used to summon them up on the page. When lightning flashes, the graveyard dances.

The Book of Judas, Brendan Kennelly’s 400-page epic poem in twelve parts, was the number one bestselling book in Ireland. The Little Book of Judas is a distillation of that literary monster, purged to its traitorous essence. But Judas never goes away. He continued to worm his way into Kennelly’s imagination long after the original book was “finished”, and The Little Book of Judas includes some damning new revelations from the eternal scapegoat and outcast. Not merely lost but irredeemable, Kennelly’s bitterly articulate Judas speaks, dreams and murmurs – of past and present, history and myth, good and evil, of men, women and children, and of course money – until we realise that the unspeakable perpetrator of the apparently unthinkable, in penetrating the icy reaches of his own world, becomes a sly, many-voiced critic of ours.

Martial is alive and kicking in Brendan Kennelly's latter-day Dublin versions of the Spanish Roman poet. He is a satirist trying to define generosity, happiness and love, with scurrilous candour and piercing clarity, in brief punchy poems. But no matter how savage his attacks, he is always playful and compassionate. He is a sharp, visionary writer who knows the world about him and is in touch with the world within himself, at once bewildered, attentive and bitingly articulate. Martial Art is a book that packs a punch.

Familiar Strangers is Brendan Kennelly's own selection from over 20 poetry books written over five decades. This landmark volume replaces his earlier selections A Time for Voices, Breathing Spaces and Begin. But Kennelly has revisited his life work, re-scoring familiar and estranged pieces into new gatherings which reflect his preoccupations more powerfully, bringing together poems from different times - and adding many new, previously lost or uncollected poems - so that they speak in chorus like the generations of people they celebrate.

"When Then is Now" brings together Brendan Kennelly's modern versions of three Greek tragedies: Antigone by Sophocles and Euripides' Medea and The Trojan Women. All three plays dramatise timeless human dilemmas as relevant now as they were in ancient times. All focus on women whose lives are torn apart by war, family conflict and despotic regimes. In his preface, Brendan Kennelly describes how writing these three plays helped him enormously at difficult times in his own life. "When Then is Now" gives living testament of his belief that 'listening to ancient voices can help us confront, understand and express many problems of today'.

Now is a fast and frenzied meditation on time, ageing, alienation and the pressures of living in the modern city. Each triplet in this book-length poetry sequence addresses the question: What is 'now'? With the brevity of a proverb, each three-liner offers a short, sharp perception which tries to capture or just grasp at the sliding identities of 'now', at the same time as it adds its quickfire nugget of wit or wisdom to the accumulating weight of the whole sequence. By the end of the book, Kennelly has taken us on a journey not just through time but through a dark night of the soul, through his own head and the thoughts and feelings of all kinds of people struggling to survive and find meaning in their lives. Now is published simultaneously with "When Then is Now", a trilogy of Kennelly's modern versions of three Greek tragedies which dramatise timeless human dilemmas as relevant now as they were in ancient times. All three plays - Sophocles' "Antigone" and Euripides' "Medea" and "The Trojan Women" - focus on women whose lives are torn apart by war, family conflict and despotic regimes.

Much of Brendan Kennelly's poetry gives voice to others and otherness. Whether through masks or personae, dramatic monologues or riddles, his poems inhabit other lives, other beings and other ways of being in the world. The riddling poems of "Reservoir Voices" add a further dimension to these explorations, inspired by an autumn sojourn in America where he would sit by the edge of a reservoir, trying to cope with loneliness by contemplating black swans, blue waves, seagulls, trees and rocks: 'It was in that state of fascinated dislocation, of almost mesmerized emptiness, that the voices came with suggestions, images, memories, delights, horrors, rhythms, insights and calm, irrefutable insistence that it was they who were speaking, not me. To surrender to loneliness is to admit new presences, new voices into that abject emptiness. So I wrote down what I heard the voices say and, at moments, sing.'

Brendan Kennelly was one of Ireland’s most popular and prolific poets. Over five decades he wrote thousands of poems published in over 30 books of poetry, including three previous editions of Selected Poems. Published on his 75th birthday, this new selection presents just over a hundred of Kennelly’s most essential poems, with a QR code giving readers access to an online album of readings by Brendan Kennelly of many poems from the book. The e-book with audio edition incorporates the same recordings.The Essential Brendan Kennelly has been edited by two lifelong admirers of his work. Like Kennelly, Terence Brown studied at Trinity College, Dublin, where he taught until 2009; he is now Fellow Emeritus of the college. Michael Longley, who also studied at Trinity College, went on to become one of Ireland’s leading poets and was Ireland Professor of Poetry in 2007-10.Terence Brown & Michael Longley write (from their foreword): 'Brendan Kennelly is a poet of rare gifts, who at all stages of his career has written distinctive, memorable and powerful poems. We hope that this selection will allow readers to appreciate anew, or for the first time, a body of work that ranges from tender lyricism to the bleakest despair at the human condition, from bawdily comic narrative to the pleasingly epigrammatic squib, from mythic consciousness to social satire… Yet each literary mode – the lyrical and its obverse, a reductively satiric assault on "the poetic" – shares what has seemed the basis of all of Kennelly’s poetry: a quest for authenticity of emotion undertaken with high moral intent. In each, as Beckett said of the painter Jack Yeats, the poet "stakes his being".’The audio selection draws on four classic recordings made by Brendan Kennelly in Dublin in 1982, 1998, 1999 and 2002 of 32 individual poems as well as four extracts from his book-length poem The Man Made of Rain.‘Ten years ago Terence Brown and I edited for Bloodaxe Books a selection of his poems, The Essential Brendan Kennelly: a labour of love. We delighted in bringing into sharper focus the lyric grace of his genius, its rage and its rapture. To our relief Brendan gave our choices the thumbs-up. It remains for me one of the best things I’ve ever done. I loved and revered the man and his words.’ – Michael Longley, The Irish Times, paying tribute to Brendan Kennelly