Over seventeen years and nine collections, John Burnside built - in the words of Bernard O'Donoghue - 'a poetic corpus of the first significance', a poetry of luminous, limpid grace. In this Selected Poems, his territory is the no-man's-land of threshold and margin, the charmed half-light of the liminal, a domestic world threaded through with mystery, myth and longing. We can see themes emerge and develop within the growing confidence of Burnside's sinuous lyric poise: the place of the individual in the world, the idea of dwelling, of home, within that community, and the lure of absence and escape set against the possibilities of renewal and continuity. This is consummate, immaculate work born out of a lean and agile craftsmanship, profound philosophical thought and a haunted, haunting imagination; the result is a poetry that makes intimate, resonant, exquisite music.
The stone bridge on the southern flank of the Antietam battlefield became one of the Civil War's most powerful symbols of courage and sacrifice. Each stage of the battle is described by extracts from memoirs and diaries of the time, with details of the area as it was in 1862 and as it is today.
In this exquisite, haunting book, John Burnside describes his coming of age from the industrial misery of Cowdenbeath and Corby to the new world of Cambridge. This is a memoir of romance âe" of lost love and the love of being lost âe" darkened by threat, illuminated by glamour. The old Scots word âe~glamourâe(tm) means magical charm, and the first time he was played I Put a Spell on You, John Burnside thought he had never heard a more beautiful song âe" it was an enchantment, a fascination that would turn to obsession. Implicit in the song were all the ambiguities that intrigued him âe" love, possession and danger âe" and this book is an exploration of the darker side of glamour and attraction. Beginning with memories of a brutal murder, the book follows the author through a series of uncanny encounters with âe~lost girlsâe(tm), with brilliant digressions on murder ballads, voodoo, acid and insomnia, and a cast that includes Kafka and Narcissus, Diane Arbus and Mel Lyman, The Four Tops and Screaminâe(tm) Jay Hawkins, and time spent lost in the Arctic Circle, black-and-white films and a mental institution. Ending with the tender summoning of the ghost of his dying mother as she sings along to the radio in her empty kitchen, I Put a Spell on You is a book about memory, about the other side of love: a book of secrets and wonders.
To the Shakers, a good song was a gift; indeed the test of a song's goodness was how much of a gift it was. In their call to 'labour to make the way of God your own', Shaker artists expressed an aesthetic that had much in common with the old Japanese notion, attributed to Hokusai, that to paint bamboo, one had first to become bamboo. In his tenth collection, John Burnside begins with an interrogation of the gift song, treating matters of faith and connection, the community of living creatures and the idea of a free church - where faith is placed, not in dogma or a possible credo, but in the indefinable - and moves on through explorations of time and place, towards a tentative and idiosyncratic re-ligere, the beginnings of a renewal of the connection to, and faith in, an ordered world. The book closes with a series of meditations on place, entitled 'Four Quartets', intended both as a spiritual response to the string quartets of Bartók and Britten (as Eliot's were to Beethoven's late quartets), and as an experiment in the poetic form that the finest of poets, the true miglior fabbro, chose as a medium for his own declaration of faith. The poems in this collection are true gifts: thrillingly beautiful, charged with power and mystery, each imbued with the generous skills of a master of his craft.
Acclaimed author John Burnside delivers a profound, page-turning novel about innocence, evil, morality, and the dark corners of the human psyche. Mysterious illnesses affect the inhabitants of the post-industrial village of Innertown, and a pervasive sense of malaise hangs everywhere. So when teenage boys disappear into the poisoned woods surrounding the village’s abandoned chemical plant, no one notices, or if they do, they don’t say a thing. Not even the town’s only cop, whose leads have long since died. To one boy, however, the chemical plant is beautiful, and it is there he will enact a plan to change the fate of the children of Innertown. To do so he will have to confront the blinding reality that burns in the chemical plant’s cavernous center.
A spectacular early morning underground explosion followed by bloody hand-to-hand combat and unprecedented command malfeasance makes the story of the Crater one of the most riveting in Civil War history. Da Capo's new "Battleground America" series offers a unique approach to the battles and battlefields of America. Each book in the series highlights a small American battlefield-sometimes a small portion of a much larger battlefield-and tells the story of the brave soldiers who fought there. Using soldiers' memoirs, letters and diaries, as well as contemporary illustrations, the human ordeal of battle comes to life on the page.All of the units, important individuals, and actions of each engagement on the battlefield are described in a clear and concise narrative. Detailed maps complement the text and illustrate small unit action at each stage of the battle. Then-and-now photographs tie the dramatic events of the past to the modern battlefield site and highlight the importance of terrain in battle. The present-day historical site of the battle is described in detail with suggestions for touring.
The Battle of the Crater is one of the lesser known yet most interesting battles of the Civil War. This book, detailing the onset of brutal trench warfare at Petersburg, Virginia, digs deeply into the military and political background of the battle. Beginning by tracing the rival armies through the bitter conflicts of the Overland Campaign and culminating with the siege of Petersburg and the battle intended to lift that siege, this book offers a candid look at the perception of the campaign by both sides.
Corby, the industrial new town built around a vast steel works, draws many to the fires of its furnaces - in the hope of steady work, a better house, a fresh start. Amongst them are Francis Cameron, from Scotland, and his friend Jan Ruckert, the son of Latvian refugees. Alienated, intelligent and curious, they form a strong and lasting bond: two teenage boys finding their feet in a foreign place. But violence hangs in the Corby air like the ash and the stench from the steel works, and when it comes down it is sudden and lethal - with repercussions that will last a lifetime. Living Nowhere is a story of friendship and loss - a resonant, thrilling book that carries at its core a beautiful and terrible secret.
A breakthrough book of poetry by one of the most exciting young poets in Britain. Dealing with issues of childhood, betrayal and domestic and sexual violence, SWIMMING IN THE FLOOD is Burnside's darkest and most powerful collection yet.
A remarkable collection exploring ageing, mortality and environmental destruction **WINNER OF THE DAVID COHEN PRIZE FOR LITERATURE 2023** 'By far the best British poet alive' SPECTATOR 'A master of language' HILARY MANTEL In this powerful, moving book, John Burnside takes his cue from Schiller, who recognised that, as one thing fades, so another flourishes: everywhere and always, in matters great and small, new life blossoms amongst the ruins. Here, in poems that explore ageing, mortality, environmental destruction and mental illness, Burnside not only mourns what is lost in passing, but also celebrates the new, and sometimes unexpected, forms that emerge from such losses. An elegy for a dead lover ends with a quiet recognition of everyday beauty – first sun streaming through the trees ... a skylark in the near field, flush with song – as the speaker emerges from lockdown after a long illness. Throughout, the poet attends to the quality of grace – numinous, exquisite, fleeting as an angel’s wing – and the broken tryst between humankind and its spiritual and animal elements, even with itself: the gaunt deer on the roads/like refugees. He acknowledges the inevitability of the fading towards death, but still finds chimes of light in the darkness – insisting that, here and now, even in decline, the world, when given its due attention, is all Annunciation.
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