Christopher Reid – författare

Christopher Reid's new collection is a quartet of works for voice, opening with the brisk and brightly coloured monologue of Professor Winterthorn - recently widowed, soon to be retired, who decides on impulse to attend a conference (on 'Nonsense and the Pursuit of Futility as strategies...') in California. He is a mordant observer, alert to the anomie of modern displacement - taxis, lifts, airports, lounges, hotel rooms - whose thin air seems at one with the loose change of widowhood, the having nowhere really to go. But adventure lies ahead, and sunshine, and Winterthorn is debonair if undeceived about the deceptions of grief. His strange ride ends on a note of recovery, with the world suddenly in focus again and brimming before him.

The Curiosities is the eleventh book of poems from this most inventive and celebrated of British poets. Clustering around the letter 'C', the seventy-some poems that comprise this collection celebrate a lexicon of lived experience through a single letter of the alphabet. Here we find tales of cufflinks and costume, cougars and cochineal, catapults and cavalry, even canoodlings in canoes. With a characteristic sleight of hand, Christopher Reid shifts deftly between seriousness and play, elegy and anarchy in this sometimes-zany, sometimes-haunting compendium of bright-eyed verses. Here and there the story-telling roams and sweeps: here are tales 'for' friends and loved ones, there are tales 'after' the great poets of history. But whoever and whatever the mode of address, these poems are frequently underpinned by a unifying humanity. The Curiosities is a temptatious read, full of wisdom and surprise, humour and lament, and is a poignant and convincing reminder that in a world where 'nobody's allowed to live forever', life is for celebrating, and grasping by the collar.

The Costa Award-winning poet's ingenious collection of poems is an investigation and test of Wordsworth's famous adage: 'the Child is father of the Man'.In Christopher Reid's marvellous collection, a schoolboy furtively and thrillingly drops a marble through the top of his desk so that it makes its way in darkness along a complicated chute of books, rulers and rubbish, only to emerge from a hole in the base and be caught deftly in his other hand. The poem is titled 'Homeric' and might serve as a clue to the mood and construction of the collection in general, where the poet, now in his seventies, seeks to track down and commune with his much younger self. It is an investigation that tests Wordsworth's 'the Child is father of the Man' by contriving a series of transtemporal encounters between two selves who may now, conceivably, begin to understand each other. Reid was born in Hong Kong and, thanks to the roving nature of his father's employment, spent some of his childhood in foreign places. Most of the locations in this book, however, are the Britain of the 1950s and '60s - perhaps, at this distance in time, no less exotic. As the poems move from pre-verbal experience to adolescence, the younger self is captured in scenes that illuminate the steps by which a man - a poet - has been raised. Another poem conjures up the childhood of Henry James in order to reflect on 'the large part / mystery plays in both childhood and art', a proposition that the book as a whole may be said to endorse through both its wondering gaze and its ingenuity.

I've rounded up a rowdy assemblyOf my own Consequential DogsAs counterparts to Eliot's mogs.Mine are a rough and ready bunch:You wouldn't take them out to lunch . . .But if they strike you as friendly, funny,Full of bounce and fond of a romp,Forgetful of poetic pomp,I trust you'll take them as you find themAnd, at the very least, not mind them.T. S. Eliot's best-selling collection of practical cat poems has been one of the most successful poetry collections ever. At last, in the 80th year of Old Possum's Cats, we have the companion volume that Eliot had envisaged, written by master poet and Costa-winner, Christopher Reid.This wonderfully witty and varied collection, illustrated in full-colour by the brilliant Sara Ogilvie, is perfect for younger readers to appreciate. A book that will be enjoyed by generations to come, perfect for reading together!

Lunch in Soho with a former lover - but Zanzotti's is under new management, and as the wine takes effect fond memories give way to something closer to the bone . . .Christopher Reid's poem, which since its first publication has been filmed by the BBC and presented on stage in numerous venues, follows the lunchtime reunion of two long-separated lovers. Every smallest detail is cherished, as step by step the narrative moves towards its tragicomic outcome.

Although the later eighteenth century has long been regarded as parliamentary oratory''s golden age, its speaking history remains to a large extent unexplored. Imprison''d Wranglers looks in detail at the making of a rhetorical culture inside and outside of the House of Commons during this eventful period, a time when Parliament consolidated its authority as a national institution and gained a new kind of prominence in the public eye. Drawing on a wide rangeof contemporary sources including newspaper reports, parliamentary diaries, memoirs, correspondence, political cartoons, and portraiture, this book reconstructs the scene in St. Stephen''s Chapel, where the Commons then sat. It shows how reputations were forged and characters contested as speakers like Burke,North, Fox, and Pitt crossed swords in confrontations that were both personal and political. With close attention to the early lives of selected MPs, it pieces together the education of the parliamentary elite from their initiation as public speakers in schools, universities, and debating clubs to the moment of trial when they rose to speak in the House for the first time. Since this was the period when the newspaper reporting of parliamentary debates was first established, the book alsoassesses the impact speeches made on the audiences of ordinary readers outside Parliament. It explains how parliamentary speeches got into print, what was at stake politically in that process, and argues that changing conceptions of publicness in the eighteenth century altered the image of theparliamentary speaker and unsettled the traditional rhetorical culture of the House.

This collection makes available what was once popular but has long been buried. During the eighteenth century, popular culture assumed a peculiar importance. In the early part of the century, high and low cultures often collided. Later in the century, politeness more and more required the distancing of genteel from vulgar amusements. This carefully annotated selection rediscovers some of the energies of the low and the vulgar in the period. It examines particular themes (crime, religious enthusiasm, popular politics, for example) by telling particular stories (the career of a notorious criminal, the exploits of a religious sect, John Wilkes and the crowd). It also illustrates how the very idea of popular culture was formed in the period, providing examples of the ways in which it was discussed both by those who were fearful of it and those who were fascinated by it.

This collection makes available what was once popular but has long been buried. During the eighteenth century, popular culture assumed a peculiar importance. In the early part of the century, high and low cultures often collided. Later in the century, politeness more and more required the distancing of genteel from vulgar amusements. This carefully annotated selection rediscovers some of the energies of the low and the vulgar in the period. It examines particular themes (crime, religious enthusiasm, popular politics, for example) by telling particular stories (the career of a notorious criminal, the exploits of a religious sect, John Wilkes and the crowd). It also illustrates how the very idea of popular culture was formed in the period, providing examples of the ways in which it was discussed both by those who were fearful of it and those who were fascinated by it.

Although the later eighteenth century has long been regarded as parliamentary oratory's golden age, its speaking history remains to a large extent unexplored. Imprison'd Wranglers looks in detail at the making of a rhetorical culture inside and outside of the House of Commons during this eventful period, a time when Parliament consolidated its authority as a national institution and gained a new kind of prominence in the public eye. Drawing on a wide range of contemporary sources including newspaper reports, parliamentary diaries, memoirs, correspondence, political cartoons, and portraiture, this book reconstructs the scene in St. Stephen's Chapel, where the Commons then sat. It shows how reputations were forged and characters contested as speakers like Burke, North, Fox, and Pitt crossed swords in confrontations that were both personal and political. With close attention to the early lives of selected MPs, it pieces together the education of the parliamentary elite from their initiation as public speakers in schools, universities, and debating clubs to the moment of trial when they rose to speak in the House for the first time. Since this was the period when the newspaper reporting of parliamentary debates was first established, the book also assesses the impact speeches made on the audiences of ordinary readers outside Parliament. It explains how parliamentary speeches got into print, what was at stake politically in that process, and argues that changing conceptions of publicness in the eighteenth century altered the image of the parliamentary speaker and unsettled the traditional rhetorical culture of the House.

At the outset of his career Ted Hughes described letter-writing as 'excellent training for conversation with the world', and he was to become a prolific master of this art which combines writing and talking. This selection begins when Hughes was seventeen, and documents the course of a life at once resolutely private but intensely attuned to other lives (including a readership comprising both adults and children); a life pared down to essentials and yet eventful, peripatetic, at times publicly controversial.

At the outset of his career Ted Hughes described letter writing as 'excellent training for conversation with the world', and he was to become a prolific master of this art. This selection begins when Hughes was seventeen, and documents the course of a life at once resolutely private but intensely attuned to others. It is a fascinatingly detailed picture of a mind of genius as it evolved through an incomparably eventful life and career.

Christopher Reid won the Hawthornden Prize and a Somerset Maugham Award for his first collection, Arcadia, and has since then adopted a variety of guises: as 'Martian' poet, as Katerina Brac - she being the fictional Eastern European poet of whose work his collection of the same name purports to be translations - and as Alfred Stoker, the 100-year-old visionary. Included here as well are poems from Reid's powerful and moving elegiac volume, A Scattering, which was named Costa Book of the Year for 2009. This is an essential introduction to the work of a richly resourceful poet engaged in what he himself once described as 'provisional negotiations with untidy life'.

Lunch in Soho with a former lover - but Zanzotti's is under new management, and as the wine takes effect fond memories give way to something closer to the bone. A mock-elegy for the heady joys of old-time Soho, The Song of Lunch displays the full range of Christopher Reid's wit, craft and human sympathy.

Christopher Reid's new collection is a quartet of works for voice, opening with the brisk and brightly coloured monologue of Professor Winterthorn - recently widowed, soon to be retired, who decides on impulse to attend a conference (on 'Nonsense and the Pursuit of Futility as strategies...') in California. He is a mordant observer, alert to the anomie of modern displacement - taxis, lifts, airports, lounges, hotel rooms - whose thin air seems at one with the loose change of widowhood, the having nowhere really to go. But adventure lies ahead, and sunshine, and Winterthorn is debonair if undeceived about the deceptions of grief. His strange ride ends on a note of recovery, with the world suddenly in focus again and brimming before him.

It follows the exploits of a group of hapless bards, more intimately connected than they themselves can possibly know, in their attempts to navigate the hazards of London literary society. Reid's colourful cast includes an ageing ex-offender, a lecherous academic, a fading grande dame and her underachieving best friend, and two young graduates, one as feckless as the other is ambitious. Hard as each may try, the poets' attempts at literary and social advancement are continually hampered both by fate and by a variety of personal shortcomings, ensuring that their story accelerates irrevocably towards comic catastrophe and collapse. Six Bad Poets is a delicious romp through a world that the author has observed closely over many years, and from which he reports with merciless accuracy, zest and humour.

The Curiosities is the eleventh book of poems from this most inventive and celebrated of British poets. Clustering around the letter 'C', the seventy-some poems that comprise this collection celebrate a lexicon of lived experience through a single letter of the alphabet. Here we find tales of cufflinks and costume, cougars and cochineal, catapults and cavalry, even canoodlings in canoes. With a characteristic sleight of hand, Christopher Reid shifts deftly between seriousness and play, elegy and anarchy in this sometimes-zany, sometimes-haunting compendium of bright-eyed verses. Here and there the story-telling roams and sweeps: here are tales 'for' friends and loved ones, there are tales 'after' the great poets of history. But whoever and whatever the mode of address, these poems are frequently underpinned by a unifying humanity. The Curiosities is a temptatious read, full of wisdom and surprise, humour and lament, and is a poignant and convincing reminder that in a world where 'nobody's allowed to live forever', life is for celebrating, and grasping by the collar.

I've rounded up a rowdy assemblyOf my own Consequential DogsAs counterparts to Eliot's mogs.Mine are a rough and ready bunch:You wouldn't take them out to lunch . . .But if they strike you as friendly, funny,Full of bounce and fond of a romp,Forgetful of poetic pomp,I trust you'll take them as you find themAnd, at the very least, not mind them.T. S. Eliot's best-selling collection of practical cat poems has been one of the most successful poetry collections in the world.For the first time in company history a companion volume will be published. Originally conceived by Eliot himself, Old Toffer's Book of Consequential Dog poems are a witty, varied and exquisitely compiled as Eliot's cats.

I've rounded up a rowdy assemblyOf my own Consequential DogsAs counterparts to Eliot's mogs.Mine are a rough and ready bunch:You wouldn't take them out to lunch . . .But if they strike you as friendly, funny,Full of bounce and fond of a romp,Forgetful of poetic pomp,I trust you'll take them as you find themAnd, at the very least, not mind them.T. S. Eliot's best-selling collection of practical cat poems has been one of the most successful poetry collections in the world.For the first time in company history a companion volume will be published. Originally conceived by Eliot himself, Old Toffer's Book of Consequential Dog poems are a witty, varied and exquisitely compiled as Eliot's cats.

I've rounded up a rowdy assemblyOf my own Consequential DogsAs counterparts to Eliot's mogs.Mine are a rough and ready bunch:You wouldn't take them out to lunch . . .But if they strike you as friendly, funny,Full of bounce and fond of a romp,Forgetful of poetic pomp,I trust you'll take them as you find themAnd, at the very least, not mind them.T. S. Eliot's best-selling collection of practical cat poems has been one of the most successful poetry collections in the world.For the first time in company history a companion volume will be published. Originally conceived by Eliot himself, Old Toffer's Book of Consequential Dog poems are a witty, varied and exquisitely compiled as Eliot's cats.

This edition brings together A Scattering and Anniversary into a single book of lamentation and remembrance, its subject being Christopher Reid's wife, the actress Lucinda Gane, who died of cancer at the age of fifty-five. A Scattering was first published in the UK in 2009 to wide acclaim, winning the Costa Book of the Year Award. This moving and fiercely self-reflective collection is divided into four poetic sequences. The first was written during a holiday a few months before Gane's death with the knowledge that the end was approaching; the second recalls her last courageous weeks, spent in a hospice in London; the third continues the exploration of bereavement from a variety of perspectives; and the fourth addresses her directly, celebrating her life, personality and achievements.Pairing A Scattering for the first time with Anniversary, which was written to commemorate the tenth anniversary of Gane's death, this volume brings Reid into dialogue, again, with the wife he loved. A moving exploration of the stages of grief and how the 'weighty emptinesses' that remain after bereavement change us, A Scattering andAnniversary show us what it means to love, lose and - forever changed - continue on.

This edition brings together A Scattering and Anniversary into a single book of lamentation and remembrance, its subject being Christopher Reid's wife, the actress Lucinda Gane, who died of cancer at the age of fifty-five. A Scattering was first published in the UK in 2009 to wide acclaim, winning the Costa Book of the Year Award. This moving and fiercely self-reflective collection is divided into four poetic sequences. The first was written during a holiday a few months before Gane's death with the knowledge that the end was approaching; the second recalls her last courageous weeks, spent in a hospice in London; the third continues the exploration of bereavement from a variety of perspectives; and the fourth addresses her directly, celebrating her life, personality and achievements.Pairing A Scattering for the first time with Anniversary, which was written to commemorate the tenth anniversary of Gane's death, this volume brings Reid into dialogue, again, with the wife he loved. A moving exploration of the stages of grief and how the 'weighty emptinesses' that remain after bereavement change us, A Scattering andAnniversary show us what it means to love, lose and - forever changed - continue on.

The Late Sun asserts a balance between memorialisation of the recently dead and celebration of the vitality of the living. Early in the collection is a set of poems about the poet's mother, who died in great age after a life of exotic travel, and the poet's own travels, his sense of both place and displacement, are vibrantly explored in other pieces. The city where he lives - particularly, and somewhat unusually, in a sequence titled 'Smells of London' - provides many of the themes, but the civic glades and sparkling vistas of the Mediterranean are just as important, and the book adds up to an affirmation of international perspectives at a time when civilised values are increasingly threatened.

The Late Sun asserts a balance between memorialisation of the recently dead and celebration of the vitality of the living. Early in the collection is a set of poems about the poet's mother, who died in great age after a life of exotic travel, and the poet's own travels, his sense of both place and displacement, are vibrantly explored in other pieces. The city where he lives - particularly, and somewhat unusually, in a sequence titled 'Smells of London' - provides many of the themes, but the civic glades and sparkling vistas of the Mediterranean are just as important, and the book adds up to an affirmation of international perspectives at a time when civilised values are increasingly threatened.

This wonderfully witty and varied collection, illustrated in full-colour by the brilliant Sara Ogilvie, is perfect for younger readers to appreciate.I've rounded up a rowdy assemblyOf my own Consequential DogsAs counterparts to Eliot's mogs.Mine are a rough and ready bunch:You wouldn't take them out to lunch . . .But if they strike you as friendly, funny,Full of bounce and fond of a romp,Forgetful of poetic pomp,I trust you'll take them as you find themAnd, at the very least, not mind them.T. S. Eliot's best-selling collection of practical cat poems has been one of the most successful poetry collections ever. At last, in the 80th year of Old Possum's Cats, we have the companion volume that Eliot had envisaged, written by master poet and Costa-winner, Christopher Reid.A book that will be enjoyed by generations to come, perfect for reading together!

In Christopher Reid's marvellous new collection, a schoolboy furtively and thrillingly drops a marble through the top of his desk so that it makes its way in darkness along a complicated chute of books, rulers and rubbish, only to emerge from a hole in the base and be caught deftly in his other hand. The poem is titled 'Homeric' and might serve as a clue to the mood and construction of the collection in general, where the poet, now in his seventies, seeks to track down and commune with his much younger self. It is an investigation that tests Wordsworth's 'the Child is father of the Man' by contriving a series of transtemporal encounters between two selves who may now, conceivably, begin to understand each other.Reid was born in Hong Kong and, thanks to the roving nature of his father's employment, spent some of his childhood in foreign places. Most of the locations in this book, however, are the Britain of the 1950s and '60s - perhaps, at this distance in time, no less exotic. As the poems move from pre-verbal experience to adolescence, the younger self is captured in scenes that illuminate the steps by which a man - a poet - has been raised. Another poem conjures up the childhood of Henry James in order to reflect on 'the large part / mystery plays in both childhood and art', a proposition that the book as a whole may be said to endorse through both its wondering gaze and its ingenuity.

In Christopher Reid's marvellous new collection, a schoolboy furtively and thrillingly drops a marble through the top of his desk so that it makes its way in darkness along a complicated chute of books, rulers and rubbish, only to emerge from a hole in the base and be caught deftly in his other hand. The poem is titled 'Homeric' and might serve as a clue to the mood and construction of the collection in general, where the poet, now in his seventies, seeks to track down and commune with his much younger self. It is an investigation that tests Wordsworth's 'the child is father of the man' by contriving a series of transtemporal encounters between two selves who may now, conceivably, begin to understand each other.Reid was born in Hong Kong and, thanks to the roving nature of his father's employment, spent some of his childhood in foreign places. Most of the locations in this book, however, are the Britain of the 1950s and '60s - perhaps, at this distance in time, no less exotic. As the poems move from pre-verbal experience to adolescence, the younger self is captured in scenes that illuminate the steps by which a man - a poet - has been raised. Another poem conjures up the childhood of Henry James in order to reflect on 'the large part /mystery plays in both childhood and art,' a proposition that the book as a whole may be said to endorse through both its wondering gaze and its ingenuity.

A new collection of poetry from Christopher Reid.