Mimi Khalvati – författare

A 2019 Poetry Book Society Winter Wild Card.A Sunday Times Book of the Year 2019. Ever since her first Carcanet book, In White Ink (1991), Mimi Khalvati has been drawn to the sonnet form. In Afterwardness its pull became irresistible. She has created in this unprogrammatic series, mixing memory, history, daily life, all her intersecting geographies and cultures, a self-portrait in all her moods, anxieties and delights. The sonnet form is stretched in all sorts of fruitful directions. Just as she adapted the ghazal form to English use, here she puts the Petrarchan sonnet to striking, unfamiliar use, widening the possibilities of the form. The poems are rich with Khalvati's personal history, her Iranian origins, her long years in Great Britain. The poems play between cultures, ancestral and acquired.

King's Gold Medal for PoetryWinner of the Jhalak Poetry Prize 2025A Guardian Book of the Year 2024A London Review Bookshop Book of the Year 2024Mimi Khalvati, one of our best-loved poets, was born in Tehran, Iran, and sent away to boarding school on the Isle of Wight at the age of six, only returning to her family in Iran when she was seventeen. The loss of her native country, culture and mother tongue formed the bedrock of her adoptive love of the English language and its lyric tradition. 'But,' she says, 'whether drawing on my few memories of Iran, my long years in London and travelling in the Mediterranean, or on that central void always facing me, I have celebrated the richness of a life that can be lived without a clear sense of heritage, family history or personal biography.'That wealth is reflected in the wide variety of style, tone and architecture in her Carcanet poetry collections over thirty-three years - free and metrical verse, ranging from short, fixed forms to extended lyrical sequences, from ghazals to the heroic corona or book-length series of sonnets. 'I hope', she writes, 'the poems speak especially to those who have made their homes wherever the tide has brought them, sometimes in language itself, and to those who have no story but place their trust in the flux and flow, the vision of the lyric moment.'

Child:New and Selected Poems 1991-2011 combines a generous collation of poems from Mimi Khalvati’s five Carcanet volumes with previously uncollected sequences. She orders her work autobiographically, telling the stories of her life in four sections: childhood and early adulthood; motherhood; meditations on light; and love and art, circling back to childhood in her celebrated final sequence (‘The Meanest Flower’). The figure of the child stands at the centre of the book, appearing in many guises: the poet as a schoolgirl on the Isle of Wight, or in half-remembered later years living with her grandmother in Tehran; her two children, now grown up; children in art; and an enduring sense of oneself as a child that is never left behind.Here is the essential Khalvati: exquisitely nuanced, formally accomplished, Romantic in sensibility; rapturous and tender in response to nature, family and love. Her poems, David Constantine writes, ‘say what it feels like being human, the good and the ill of it, with passion, tact and lightness.'

In this, her boldest collection to date, Mimi Khalvati takes the weather, the seasons and the passage of night and day as the ground on which she draws her emblems of human life and love. Restricting herself in each poem to sixteen lines, set in couplets, Khalvati plays kaleidoscopic variations on this form, the lyric falling differently each time, yet the book as a whole retaining a powerful coherence. As the scene shifts from London to the Mediterranean to the Canaries, the poems gain resonance from each other with cumulative intensity, spinning connections across scale and distance. The Weather Wheel is a radiant celebration of the living world despite the loss that lies at the book's heart.

Wordsworth's 'meanest flower that blows' suggested to him 'thoughts that do often lie too deep for tears'. The lyrics, elegies, songs and ghazals in Mimi Khalvati's new book pay attention to things the imagination generally disregards, an attention that is concentrated, intense and unapologetically Romantic. Hers is the true voice of feeling, undeflected by irony or self-deprecation. There is rapture in these poems as well as a tragic sense: nature, childhood, motherhood and family relationships all have a double valency, a give and take, to which Khalvati witnesses with a feeling sharpened by love and grief.

'One vast page ranging away from view, no paragraphs for pauses. Where to begin, how to find a loose thread that invites unravelling. Each sentence slips out of its predecessor and into the next, wave upon wave of calligraphy, not a lapse or hesitation in sight' - from "Sea Script" by Anne Ryland. "Entering the Tapestry", the second volume in "The Poetry School's" warmly welcomed series of anthologies of new voices, presents a generous selection of work from thirty poets. Some are on their way to a first collection, others exploring what might lie beyond the success of individual poems.All of them offer, not only an abundance of talent, but the delight of fully achieved poems and the presence of an individual voice. In its variety of style, tone, length and subject matter, "Entering the Tapestry" is an invitation to enjoy the contrasts and follow the distinctive threads in a vivid spectrum of new writing, whether it falls within current fashions or dares to strike out beyond.The poets featured include: Frances Angela, Matt Barnard, Chris Beckett, Linda Black, Diana Brodie, Nadine Brummer, Robert Chandler, Valerie Clarke, Heather Coffey, Tricia Corob, Wendy French, Jacqueline Gabbitas, Lucy Hamilton, Bryan Heiser, Fawzia Kane, Nell Keddie, Khan Singh Kumar, Julia Lewis, Maureen Li, Tony McKeown, Dominic McLoughlin, Mary MacRae, Bill Presley, Meryl Pugh, Jo Roach, Anna Robinson, Beverley Rowe, Anne Ryland, Deborah Sacks, Ruth Smith.