In a period when nations are retracting within their borders, the vivid and intricate poems of Jamie McKendrick's new collection Anomaly are especially timely, and speak of a fragile legacy of openness and interconnectedness. The poems playfully twin Bologna and Bombay, the South Downs and the Camargue, the imagined and the actual. Often intensely visual, here more than ever, McKendrick's poems engage with artists as various as the Taviani brothers, Sánchez Cotán, Bhupen Khakhar and Giacometti, and are as alive to the sea-bound cityscapes of Liverpool and Venice as to the rocky landscapes of Sardinia and Slovenia.
Drawn from thirty years of work, this selection, made by the poet himself, gathers from the best of Jamie McKendrick's six acclaimed collections, including some translations, from 1991's debut The Sirocco Room to Out There (2012, and winner of the Hawthornden Prize) by way of The Marble Fly (1997), winner of the Forward Prize for Best Collection, and Ink Stone, shortlisted for both the T. S. Eliot Prize and the Whitbread Poetry Award in 2003. Sky Nails, his selected poems, was published by Faber in 2000, and selections of his poems have been translated and published in Holland and in Italy. Throughout, McKendrick has been concerned with the charting of space, of the distances between homeland and edgeland, the far-flung and the near-at-hand, the past and present, the familiar and the strange in poems which cast a sharp eye over their subject matter and return with wry, unsettling observations. There is remembrance, here, and salvage, a bringing to light of that which is obscured or lost, not only the ink stones in Chinese riverbeds, but extinct species, spacecraft and flooded houses, as well as historical figures, including a 10th-century physicist from Basra, Irish activist Roger Casement, and artists Gaudi, Höch and Piranesi.
Jamie McKendrick's sixth collection starts from the far flung ('out there' is the nothing - or the something - of outer space), ascertaining the mood of an observer on Uranus, or the perils of medieval travel, or listening for the speech of alien landscapes. Closer to home, the poems adopt an outsiderish stance as they ponder the business of non-belonging and draw up wry inventories of marginality - finding room for those whom history has forgotten (the inhabitants of a drowned valley in Wales) or equally for the outcasts of natural history (the northern bald ibis, the hyena, the moa), whose skeleons are 'cairns to their own extinction'. But the poems themselves are vivid and stubbornly realised individuals: they take short views, make canny distinctions and tread carefully. Invoking paintings and artefacts and facades, they also add to an ongoing portrait of the artist - caught for example amidst the patiently-observed flotsam of a repeatedly flooding house -which becomes more finely drawn with each of Jamie McKendrick's collections.
Sky Nails offers a selection from Jamie McKendrick's first three collections of poetry, including The Marble Fly, which was both a Poetry Book Society Choice and winner of the 1997 Forward Prize for Best Collection.
Crocodiles and obelisks are ancient symbols of empire. The poems in Jamie McKendrick's astonishing new collection sift the debris of power and range from Mussolini's Italy and Franco's Spain to the Belgian Congo and to the Roman, the Austro-Hungarian and British empires. But 'crocodiles' and 'obelisks' are also terms used for newspaper obituaries - for tributes which either monumentalize the dead or shed false tears for them. Crocodiles & Obelisks is McKendrick's most individual work to date, and experiments with different ways of remembering, offering conclusions that are both cunning and drôle.
The best ink stones are slates from Chinese riverbeds, but in the long history of their use these have all been found. As one expert writes, 'the better the stone, the smaller and more consistent the particles will be and the denser the ink.' These new poems by Jamie McKendrick have a remarkable density of ink. They explore the grain, or 'tooth', of the natural world with unusual and discomforting detail at the same time as they chart the medium they work in - not only what the eye sees, but the eye itself: its structure and structurings. These poems open onto conflicting perspectives of home and abroad, the domestic and the wild, the natural and the uncanny, elegy and celebration.
The word 'foreign' has gathered hostile associations but its Latin root - foris a door - is close to the spirit of these writings which explore openings and connections across and within artforms, eras, cultures and languages. McKendrick traces a series of dynamic, often unexpected refigurations of idea, image and structure from Gaius Valerius Catullus to Valerio Magrelli, from the French early Renaissance miniaturist Jean Bourdichon to the contemporary Belgian painter Luc Tuymans. Various kinds of translation and traversal are central to these essays which consider art and poetry from Italy, France, Germany, Russia as well as Ireland, Britain and the U.S. Other topics include Titian's debt to Ovid and Catullus, Dante seen through translation and through Botticelli's illustrations, Michelangelo as poet, Blake as painter, the use of Plutarch by Shakespeare and Cavafy, the strange convergences between Whitman and Baudelaire, and Elizabeth Bishop, as both poet and painter, as well as her Baudelairean correspondences. Jamie McKendrick is distinguished both as a poet and translator, and is a Cavaliere dell'Ordine della Stella della Solidarietà Italiana. His seven collections have won the Forward Prize, the Hawthornden Prize and, in 2019, the Cholmondeley Award, and his Selected Poems are published by Faber. As a translator he has won the Oxford Weidenfeld Prize and the John Florio Prize (twice), and he is the editor of the Faber Book of Twentieth-Century Italian Poems.
Crocodiles and obelisks are ancient symbols of empire. The poems in Jamie McKendrick's astonishing new collection sift the debris of power and range from Mussolini's Italy and Franco's Spain to the Belgian Congo and to the Roman, the Austro-Hungarian and British empires. But 'crocodiles' and 'obelisks' are also terms used for newspaper obituaries - for tributes which either monumentalize the dead or shed false tears for them. Crocodiles & Obelisks is McKendrick's most individual work to date, and experiments with different ways of remembering, offering conclusions that are both cunning and drôle.
Jamie McKendrick's sixth collection starts from the far flung ('out there' is the nothing - or the something - of outer space), ascertaining the mood of an observer on Uranus, or the perils of medieval travel, or listening for the speech of alien landscapes. Closer to home, the poems adopt an outsiderish stance as they ponder the business of non-belonging and draw up wry inventories of marginality - finding room for those whom history has forgotten (the inhabitants of a drowned valley in Wales) or equally for the outcasts of natural history (the northern bald ibis, the hyena, the moa), whose skeleons are 'cairns to their own extinction'. But the poems themselves are vivid and stubbornly realised individuals: they take short views, make canny distinctions and tread carefully. Invoking paintings and artefacts and facades, they also add to an ongoing portrait of the artist - caught for example amidst the patiently-observed flotsam of a repeatedly flooding house -which becomes more finely drawn with each of Jamie McKendrick's collections.
The best ink stones are slates from Chinese riverbeds, but in the long history of their use these have all been found. As one expert writes, 'the better the stone, the smaller and more consistent the particles will be and the denser the ink.' These new poems by Jamie McKendrick have a remarkable density of ink. They explore the grain, or 'tooth', of the natural world with unusual and discomforting detail at the same time as they chart the medium they work in - not only what the eye sees, but the eye itself: its structure and structurings. These poems open onto conflicting perspectives of home and abroad, the domestic and the wild, the natural and the uncanny, elegy and celebration.
Sky Nails offers a selection from Jamie McKendrick's first three collections of poetry, including The Marble Fly, which was both a Poetry Book Society Choice and winner of the 1997 Forward Prize for Best Collection.
Drawn from thirty years of work, this selection, made by the poet himself, gathers from the best of Jamie McKendrick's six acclaimed collections, including some translations, from 1991's debut The Sirocco Room to Out There (2012, and winner of the Hawthornden Prize) by way of The Marble Fly (1997), winner of the Forward Prize for Best Collection, and Ink Stone, shortlisted for both the T. S. Eliot Prize and the Whitbread Poetry Award in 2003. Sky Nails, his selected poems, was published by Faber in 2000, and selections of his poems have been translated and published in Holland and in Italy. Throughout, McKendrick has been concerned with the charting of space, of the distances between homeland and edgeland, the far-flung and the near-at-hand, the past and present, the familiar and the strange in poems which cast a sharp eye over their subject matter and return with wry, unsettling observations. There is remembrance, here, and salvage, a bringing to light of that which is obscured or lost, not only the ink stones in Chinese riverbeds, but extinct species, spacecraft and flooded houses, as well as historical figures, including a 10th-century physicist from Basra, Irish activist Roger Casement, and artists Gaudi, Höch and Piranesi.
In a period when nations are retracting within their borders, the vivid and intricate poems of Jamie McKendrick's new collection Anomaly are especially timely, and speak of a fragile legacy of openness and interconnectedness. The poems playfully twin Bologna and Bombay, the South Downs and the Camargue, the imagined and the actual. Often intensely visual, here more than ever, McKendrick's poems engage with artists as various as the Taviani brothers, Sánchez Cotán, Bhupen Khakhar and Giacometti, and are as alive to the sea-bound cityscapes of Liverpool and Venice as to the rocky landscapes of Sardinia and Slovenia.
Nestled in the foothills of the beautiful Wasatch Mountains, Weber State University has been serving the Greater Weber and Davis County communities for over 125 years. On January 7, 1889, Weber Stake Academy opened its doors for the first time to approximately 100 students. The academy continued to grow and develop through five name changes and several relocations. Throughout this time, the institution survived many financial and political struggles. Today, the university has increased in size to accommodate over 26,000 students. This pictorial history was put together in commemoration of Weber's 125th anniversary, and it provides a compelling look into the struggles and ultimate survival of a historic academic institution.
`Introducing Social Geographies' is a major new text offering a comprehensive and up-to-date introduction to this important area of human geography. It presents a broad overview of social geography, clearly outlining the key theoretical and political positions, and making extensive use of examples to show how these frameworks can be used to analyse real social issues. The book is ideal for undergraduates first encountering social geography and includes topic overviews, summaries of key points, critiques, boxed case studies and suggestions for further reading.
Unlike other textbooks on this subject, which are more focused on end of life, the 4th edition of Principles and Practice of Palliative Care and Supportive Oncology focuses on supportive oncology. In fact, the goal of this textbook is to provide a source of both help and inspiration to all those who care for patients with cancer. Written in a more reader-friendly format, this textbook not only offers authoritative and up-to-date reviews of research and clinical care best practices, but also practical clinical applications to help readers put everything they learn to use.
This book describes the cultural significance of two centuries of recreational paddling in Canada, illustrating through contemporary interviews and published sources what the experience of canoeing has meant to the sport's participants.
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