Horse Music

Häftad, Engelska, 2013

189 kr

Beställningsvara. Skickas inom 7-10 vardagar. Fri frakt för medlemmar vid köp för minst 249 kr.

Matthew Sweeney's tenth collection of poems is as sinister as its dark forebears, but the notes he hits in "Horse Music" are lyrical and touching as well as disturbing and disquieting. Confronting him in these imaginative riffs are not just the perplexing animals and folklorish crows familiar from his earlier books, but also magical horses, ghosts, dwarfs and gnomes. Central to the book are a group of Berlin poems - introducing us to, among things, the birds of Chamissoplatz who warn of coming ecological disaster, or the horses who swim across the Wannsee to pay homage to Heinrich von Kleist in his grave. Many poems in the book range freely across the borders of realism into an alternative realism, while others stay within what Elizabeth Bishop called 'the surrealism of everyday life' - such as a tale about Romanian gypsies removing bit by bit an abandoned car. "Horse Music" is not only Matthew Sweeney's most adventurous book to date, it is also his most varied, including not only outlandish adventures and macabre musings, but also moving responses to family deaths - balanced by a poem to a newborn, picturing the strange new world that will unfold for her. That strange world unfolds for us too in the eerie poems of Horse Music. Poetry Book Society Recommendation.

Produktinformation

Utgivningsdatum2013-02-21
Mått138 x 216 x 7 mm
Vikt158 g
FormatHäftad
SpråkEngelska
SerieBloodaxe Books Ltd
Antal sidor96
FörlagBloodaxe Books Ltd
ISBN9781852249670

Tillhör följande kategorier

Poesi inom Skönlitteratur

Matthew Sweeney (1952-2018) was born in Lifford, Co. Donegal, Ireland. He moved to London in 1973 and studied at the Polytechnic of North London and the University of Freiburg. After living in Berlin and Timisoara for some years, he returned to Ireland and settled in Cork. He died in August 2018 from motor neurone disease. His poetry collections include: A Dream of Maps (1981), A Round House (1983), The Lame Waltzer (1985) from Allison & Busby / Raven Arts Press; Blue Shoes (1989) and Cacti (1992) from Secker & Warburg; The Bridal Suite (1997), A Smell of Fish (2000), Selected Poems (2002), Sanctuary (2004) and Black Moon (2007) from Jonathan Cape; The Night Post: A Selection (Salt, 2010); Horse Music (2013), Inquisition Lane (2015), My Life as a Painter (2018) and Shadow of the Owl (2020) from Bloodaxe; and King of a Rainy Country (2018) from Arc, a book of prose poems set in Paris, and responding to Baudelaire’s Le Spleen de Paris. Black Moon was shortlisted for the T.S. Eliot Prize and for the Irish Times Poetry Now Award. Horse Music won the inaugural Pigott Poetry Prize in association with Listowel Writers’ Week, and is a Poetry Book Society Recommendation. He also published editions of selected poems in Canada (Picnic on Ice, Vehicule Press, 2002) and and two translated by Jan Wagner in Germany, Rosa Milch (Berlin Verlag, 2008) and Hund und Mond (Hanser Berlin, 2017). He won a Cholmondeley Award in 1987 and an Arts Council Writers' Award in 1999. He also published poetry for children, with collections including The Flying Spring Onion (1992), Fatso in the Red Suit (1995) and Up on the Roof: New and Selected Poems (2001). His novels for children include The Snow Vulture (1992) and Fox (2002). He edited The New Faber Book of Children's Poems (2003) and Walter De la Mare: Poems (2006) for Faber; co-edited Emergency Kit: Poems for Strange Times (Faber, 1996) with Jo Shapcott; and co-wrote Writing Poetry (Teach Yourself series, Hodder, 1997) and the comic novel Death Comes for the Poets (Muswell Press, 2012) with John Hartley Williams.

'Horse Music… finds Matthew Sweeney's grim, gleeful, unrelenting fantasies in exuberant shape.' - Sean O'Brien, Independent, Books of the Year 2013'In Sweeney's poems, things happen for no reason, it seems, other than to tantalise and entertain. But the cumulative effect is to force us to consider imagination itself: its quirks, its curious dissatisfaction with the everyday...this is a wonderful collection, madcap, laconic, and provocative too.' - Bill Greenwell, Independent [on Horse Music]