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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.
Conversational in style and shrewdly laconic, this collection of Fleur Adcock's poetry offers psychological insights into the deceptions of love, personal relationships and family life.
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.
This is a new collection of poems by one of Britain's leading poets, Fleur Adcock. It contains poems on insects, family and ancestors.
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.
Gathers poems by Hilda Doolittle, Marianne Moore, Edna St Vincent Millay, Louise Bogan, Stevie Smith, Maxine Kumin, Adrienne Rich, Sylvia Plath, and Margaret Atwood
"IN PERSON presents contemporary poetry to readers in a totally new way, with short films of 30 living poets reading their work on two DVDs. [...] an anthology/DVD combination with all the poems from the films includes in the book.
Fleur Adcock wrote these poems during the four years before the COVID-19 pandemic put a stop to them. The two chief settings are New Zealand, with its multi-coloured seas, and Britain, seen in various decades. There are foreign travels, flirtations, family memories, deaths and conversations with the dead. Katherine Mansfield, incognito, dodges an academic conference; there's a lesson in water divining as well as a rather unusual Christmas party. We meet several varieties of small mammal, numerous birds, doomed or otherwise, and some sheep. The book ends with a sequence in memory of her friend, the poet Roy Fisher.
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.