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Simon Armitage is one of the leading poets of his generation. Since his first collection, Zoom, in 1989 he has published ten full-length collections of poetry, while also writing and presenting numerous works for radio, television and film. He is now one of the poets most widely studied at GCSE examination level. This study guide to Simon Armitage's poetry will be essential reading and preparation for GCSE students and their teachers, to whose needs it has been expertly tailored. The book examines Armitage's work in just the ways that students need to think about it - in respect of how the poems are crafted in language and form, and the kinds of themes, ideas and attitudes that they reflect. It also includes sections on studying individual poems for the examination, an illuminating biography with questions and answers and sample essays.
From the prize-winning poet and former Poet Laureate of the United Kingdom comes a powerful collection of poetry that gives voice to the people of Britain with a haunting grace. We meet characters whose sense of isolation is both emotional and political, both real and metaphorical, from a son made to groom the garden hedge as punishment, to a nurse standing alone at a bus stop as the centuries pass by, to a latter-day Odysseus looking for enlightenment and hope in the shadowy underworld of a cut-price supermarket. We see the changing shape of England itself, viewed from a satellite "like a shipwreck's carcass raised on a sea-crane's hook, / nothing but keel, beams, spars, down to its bare bones." In this exquisite collection, Armitage X-rays the weary but ironic soul of his nation, with its "Songs about mills and mines and a great war, / lines about mermaids and solid gold hills, / songs from broken hymnbooks and cheesy films"—in poems that blend the lyrical and the vernacular, with his trademark eye for detail and biting wit.
Creates a muscular but elegant language of the author's own slangy, youthful, up to the minuet jargon and vernacular of his native Northern England. He combines this with an easily worn erudition, plenty of nouns and the benefit of blinkered experience.
Shortlisted for the Portico Prize for Nonfiction Nineteen days, 256 miles, and one renowned poet walking the backbone of England. The wandering poet has always been a feature of our cultural imagination. Odysseus journeys home, his famous flair for storytelling seducing friend and foe. The Romantic poets tramped all over the Lake District searching for inspiration. Now Simon Armitage, with equal parts enthusiasm and trepidation, as well as a wry humor all his own, has taken on Britain’s version of our Appalachian Trail: the Pennine Way. Walking “the backbone of England” by day (accompanied by friends, family, strangers, dogs, the unpredictable English weather, and a backpack full of Mars Bars), each evening he gives a poetry reading in a different village in exchange for a bed. Armitage reflects on the inextricable link between freedom and fear as well as the poet’s place in our bustling world. In Armitage’s own words, “to embark on the walk is to surrender to its lore and submit to its logic, and to take up a challenge against the self.”
"Simon Armitage is one of the most compelling figures in contemporary literature, most conspicuously because of his charismatic style, but also because he has brought into poetry an irreverent, streetwise gusto and a kind of knowledge that often seems to come from outside poetry altogether. But this book is organised thematically in order to stress that Armitage is a considerable intellectual who tackles a wide range of issues. Geography is one of these: his poetry represents a shift in paradigm from time to space. So his poems continuously express a spatial awareness which creates the particular kinds of specificity -- of location and imagery -- which give his work depth in the metaphorical sense. Another key concern is gender: Armitage's reflections on masculinity are a consistent feature of all his writing, and he is especially acute about the drives and insecurities that fuel the most obsessive and off-handed, apparently gratuitously destructive behaviour. However serious the issue, though, Armitage retains his affinity for the comic mode. He is drawn to its earthy, unpretentious idioms, and its exhilirating habit of dwelling on the possibilities of renewal and happy endings. That makes the recent ecological turn in Armitage's writing especially promising. I am certain that this is a direction his work will increasingly take; but his fondness for the comic mode ensures that he will approach the subject with a vivid sense of how the ecocentric and the anthropocentric incongruously mingle, and of the still open possibilities for change and regeneration."--Publisher's description.
Offering a wealth of ideas and support for ways to really bring poetry alive, this book draws on what is known to work, and explores fresh thinking. It will help both new and experienced teachers approach poetry with imagination and confidence. Written by people who have taught poetry in different settings for many years, and with contributions from poets Michael Rosen and James Carter, this book offers ideas on: - using drama - cross-curricular working - what to do with younger learners - inspiring children to write their own poems - and much more ... An enjoyable and uplifting book, it is a must for anyone working with children aged 5 to 14 who is looking for inspiration for their poetry teaching. Michael Lockwood is Senior Lecturer in English and Education, University of Reading.
In a period marked by the Spatial Turn, time is not the main category of analysis any longer. Space is. It is now considered as a central metaphor and topos in literature, and literary criticism has seized space as a new tool. Similarly, literature turns out to be an ideal field for geography. This book examines the cross-fertilization of geography and literature as disciplines, languages and methodologies. In the past two decades, several methods of analysis focusing on the relationship and interconnectedness between literature and geography have flourished. Literary cartography, literary geography and geocriticism (Westphal, 2007, and Tally, 2011) have their specificities, but they all agree upon the omnipresence of space, place and mapping at the core of analysis. Other approaches like ecocriticism (Buell, 2001, and Garrard, 2004), geopoetics (White, 1994), geography of literature (Moretti, 2000), studies of the inserted map (Ljunberg, 2012, and Pristnall and Cooper, 2011) and narrative cartography have likewise drawn attention to space. Literature and Geography: The Writing of Space Throughout History, following an international conference in Lyon bringing together literary academics, geographers, cartographers and architects in order to discuss literature and geography as two practices of space, shows that literature, along with geography, is perfectly valid to account for space. Suggestions are offered here from all disciplines on how to take into account representations and discourses since texts, including literary ones, have become increasingly present in the analysis of geographers.
This revision guide supports the AQA/A English Anthology for 2004-2006, with glossaries, notes and questions to prepare students for the exam. The practice questions are accompanied by advice on how students can plan, structure and write successful answers.
What does it mean to experience a work of literature? What role does response play in the creation of literary meaning? And what matters – really matters – in the teaching of English Literature? In this book, Andrew Atherton offers a powerful and timely account of the vital role that student response plays in the English Literature classroom. This text is deeply immersed in the disciplinary traditions and legacies of what it has meant to experience English Literature, both for its teachers and students. As the English teaching community try to move beyond exam-driven responses, highly restrictive essay structures and explicit teaching of interpretation, this innovative text helps teachers to encourage responses from students that are more authentic and co-constructed. It contains dedicated chapters for teaching novels, plays and poetry as well as generative writing, sentence-level analysis and essay structure. Each chapter is furnished with a wealth of ideas, routines and activities, all ready to be embedded directly into the classroom. This book will play a key role in this continuing rejuvenation of an experience of English Literature that places a premium on student response and how to shape it. Experiencing English Literature remains actionable and practical, written first and foremost for teachers. It will be essential reading for any KS3/4/5 teacher of English Literature as well as Senior Leaders seeking to better understand the disciplinary traditions of English Literature.