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After the appearance of Fleur Adcock's Poems 1960-2000 she wrote no more poems for several years. This cessation coincided with - but was not entirely caused by - her giving up smoking. When poetry returned to her in 2003 it tended towards a sparer, more concentrated style. This new collection continues to reflect her preoccupations with family matters and with her ambivalent feelings about her native New Zealand. Her initial inspiration was the letters her father wrote home from England to his parents during World War II, which evoked her own memories of that era. The central sequence moves from her first coming to consciousness in New Zealand up to and through the war years in Britain and on to sketches from her teens in puritanical postwar Wellington after her reluctant return - not without her usual sardonic eye for incongruities and absurdities. There are also affectionate poems for her grandchildren and her late mother.
Fleur Adcock's title refers to the transparent, glittering wings of some of the species - bees, mosquitoes, dragonflies - celebrated or lamented in a sequence of poems on encounters with arthropods, from the stick insects and crayfish of her native New Zealand to the clothes' moths that infest her London house. There is an elegy for the once abundant caterpillars of her English childhood, while other sections of the book include elegies for human beings and poems based on family wills from the 16th to the 20th centuries, as well as birthday greetings for old friends and for a new great-grandson. Fleur Adcock writes about men and women, childhood, identity, roots and rootlessness, memory and loss, animals and dreams, as well as our interactions with nature and place. Her poised, ironic poems are remarkable for their wry wit, conversational tone and psychological insight, unmasking the deceptions of love or unravelling family lives. Fleur Adcock was born in New Zealand in 1934. She spent the war years in England, returning with her family to New Zealand in 1947, and has lived in Britain since 1963, with regular visits to New Zealand. She has published many collections of poems, including her collected poems, Poems 1960-2000 (2000), and ten years later Dragon Talk (2010). Her many awards include the 1961 Festival of Wellington Poetry Award, the Jessie Mackay Prize in 1968 and 1972, the Buckland Award in 1968 and 1979, the New Zealand National Book Award in 1984, an OBE in 1996, a CNZM in 2008, and the Queen's Gold Medal for Poetry in 2006.
Fleur Adcock is one of Britain's most accomplished poets. Her poised, ironic poems are tense and tightly controlled as well as shrewdly laconic, and often chilling as she unmasks the deceptions of love or unravels family lives. Disarmingly conversational in style, they are remarkable for their psychological insight and their unsentimental, mischievously casual view of personal relationships. Born in New Zealand, she has explored questions of identity and rootedness throughout her work, both in relation to her personal allegiances to her native and adopted countries as well as her family history, whose long-dead characters she brings to life. She has also written movingly of birth, death and bereavement, and has tackled political issues with honest indignation and caustic wit. This first Collected edition of her poetry replaces her Selected Poems, with the addition of work from her later Oxford collections The Incident Book, Time-Zones and Looking Back. All her most celebrated poems are here, from the highly entertaining 'Against Coupling', 'Smokers For Celibacy' and 'The Prize-Winning Poem' to modern classics such as 'The Ex-Queen Amongst the Astronomers' and 'Things' - as well as the notorious one about kissing John Prescott...; 'Adcock has a deceptively laid-back tone, through which the sharper edge of her talent is encountered like a razor blade in a peach' - Carol Ann Duffy, Guardian 'Most of Fleur Adcock's best poems have something to do with bed: she writes well about sex, very well about illness, and very well indeed about dreaming...; Her imagination thrives on what threatens her peace of mind, and only when she is unguarded can these threats have their full creative effect. Hence the importance of bed: it is the place where the elegant artful barriers that she builds from day to day are most easily over-thrown...; Throughout her writing life, she has made a fine art from holding on to principles of orderliness and good clear sense; but she has made an even finer one from loosening her grip on them' - Andrew Motion, TLS 'Adcock's reputation has been founded on her spare, conversational poems, in which the style is deceptively simple, apparently translucent...;those who see in such poems only flatness are missing the power of a voice which teases both reader and subject' - Jo Shapcott, TLS
In the first part of this book, her first since Time Zones (OUP, 1991),Adcock looks at some of her ancestors, from relatively recent figures strugglingwith hardship and family tragedies in 19th-century Manchester, through rurallives in Midlands villages, to a few prominent heroes and villains inElizabethan and medieval times. In the second section she returns to morecontemporary subjects, such as sex and dreaming - familiar topics of thisunsettled but unsparing poet.
A study of Fleur Adcock as a poet of dual New Zealand and British nationality writing within the mainstream with the eye of an outsider.
Renowned poet Fleur Adcock here provides modern verse translations of the complete work of two of the most exciting poets of the twelfth century, Hugh Primas of Orleans and the so-called Archpoet, beside their Latin originals. Included are witty epigrams, treatments of classical themes, poems on religious and ecclesiastical topics, depictions of low life, begging-poems, and the Archpoet's famous Confession. The work is characterised by its liveliness and its touches of satire and coarse realism, features which Fleur Adcock captures superbly in her modern renderings. There are textual notes, explanatory notes, a historical note, and an introduction. This unique resource will appeal not only to medievalists but to all lovers of poetry.
This wonderful new edition of Poems on the Underground is published to celebrate the 150th anniversary of the Underground in 2013. Here 230 poems old and new, romantic, comic and sublime explore such diverse topics as love, London, exile, families, dreams, war, music and the seasons, and feature poets from Sappho to Carol Ann Duffy and Wendy Cope, including Chaucer and Shakespeare, Milton, Blake and Shelley, Whitman and Dickinson, Yeats and Auden, Seamus Heaney and Derek Walcott and a host of younger poets. It includes a new foreword and over two dozen poems not included in previous anthologies.
Gathers poems by Hilda Doolittle, Marianne Moore, Edna St Vincent Millay, Louise Bogan, Stevie Smith, Maxine Kumin, Adrienne Rich, Sylvia Plath, and Margaret Atwood
A land ballot was the means by which Fleur Adcock's grandparents, immigrants from Manchester during World War I, were able to bid for a piece of native bush on the slopes of Mount Pirongia in the North Island of New Zealand. Their task was to turn this unpromising acreage into a dairy farm. When things didn't work out as they had hoped much of the responsibility for running the farm and engineering their eventual escape fell on their teenage son, Adcock's father. This sequence of poems follows the course of their efforts and builds up a portrait of a small, isolated community.
Wonderful verse translations of medieval Latin lyrics.