Böcker av John Kinsella

A stunning new collection by one of Australia's most celebrated poets. Inspired by the natural world, Kinsella's poems consider the protection and valuing of human and animal life, and the environment itself. Reflecting the constant flux of the global and the local, these poems consider the plight of refugees, the degradation of the environment, militarisation and violence. Contemplating the failure of public memory to memorialise, Kinsella reflects on the unresolved issues of history such as Nazism and colonisation. Influenced by William Blake's poetry and art, in particular his uncompleted series of illustrations to Dante's Divine Comedy, Kinsella evokes a strong relationship between the visual and textual. On the Outskirts is a work of strangeness and alienation, and one in which a light of redemption is sought - a rehabilitation in the human character and the healing power of nature.

Once a fêted literary figure, the former lover of B-list movie star Lucida, but now derelict, incontinent, asexual, ageing poet Harold Lime turns his back on material modernity, withdrawing to a basement in the university town of Cambridge, England. But human connections will prove difficult to sever completely, and he is drawn out of himself by a fox hunt saboteur ("the sab woman"), with whom he forms a poignant, uneasy relationship and who acts as his mutual confessor. In the isolation of his basement, Harold Lime obsessively listens to Mahler, whose nine symphonies, unfinished tenth, and Earth Songs, each corresponding to a separate chapter of this innovative poetic novel, will reawaken the sensitivities he has tried to erase, taking him back to his Australian childhood and youth, fostering a growing awareness of intertwined body and soul, of commitment and connectedness, of the ecology of rootedness and unrootedness in an unjust world.

The Fremantle Press Anthology of Western Australian Poetry is a comprehensive survey of the state's poets from the 19th century to today. Featuring work from 134 poets, and including the work of many WA Indigenous poets, this watershed anthology brings together the poems that have contributed to and defined the ways that Western Australians see themselves.

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A literary critical book which is a toolkit for (peaceful) concerted activism on behalf of environment and issues of human rights and justice. -- .

The Weave is the second book collaboration between Thurston Moore and John Kinsella - dubbed a ''work in progress'' by the two poets, the book guides readers through a world in decay, crafting an invigorating language of spontaneity and survival out of the destruction. Moore and Kinsella aren''t just observing - they implicate us all in the harms of global capitalism and environmental disaster, charting a back and forth between the individual and the crowd. ROSIE LONG DECTER These poems start in Dolphy''s key + end with a quarryman''s dream. In between secrets are stored. See how many you can find. CLARK COOLIDGE

John Kinsella explores a contemporary poetics and pedagogy as it emerges from his reflections on his own writing and teaching, and on the work of other poets, particularly contemporary writers with which he feels some affinity. -- .

In the Shade of the Shady Tree is a collection of stories set in the Western Australian wheatbelt, a vast grain-growing area that ranges across the southwestern end of the immense Australian interior.

The Wound takes the form of two short books in conversation with each other; the first from the perspective of Sweeney, anti-hero of the epic poem Buile Suibhne, the second an 'interaction' with poems by Hoelderlin. Both books form a response to the destruction of the environment witnessed by the poet. This is Kinsella at his most powerful.

This book is concerned with the complexities of defining 'place', of observing and 'seeing' place, and how we might write a poetics of place. From Kathy Acker to indigenous Australian poet Jack Davis, the book touches on other writers and theorists, but in essence is a hands-on 'praxis' book of poetic practice. The work extends John Kinsella's theory of 'international regionalism' and posits new ways of reading the relationship between place and individual, between individual and the natural environment, and how place occupies the person as much as the person occupies place. It provides alternative readings of writers through place and space, especially Australian writers, but also non-Australian. Further, close consideration is given to being of 'famine-migrant' Irish heritage and the complexities of 'returning'. A close-up examination of 'belonging' and exclusion is made on a day-to-day basis. The book offers an approach to creating poems and literary texts constituted by experiencing multiple places, developing a model of polyvalent belonging known as 'polysituatedness'. It works as a companion volume to Kinsella's earlier Manchester University Press critical work, Disclosed Poetics: Beyond Landscape to Lyricism.

In John Kinsella's new collection, 'Sack' not only refers not only to the shocking title poem, where a tied, writhing sack is seen flung from a car into gully - but also to the sacking and exploitation of the landscape and those who labour on it. Kinsella draws vividly on 'childhood memories' - but reveals them for the hard truths they are, by subtracting the cushioning effects of nostalgia. Kinsella shows how childhood prefigures our adult experience, and how its residues (here, those also take the literal form of asbestos and radiation) influence and shape our futures. Elsewhere, Kinsella resurrects an old form to do new work: the 'penillion' is an old Welsh stanza whose concision and insistent musicality provide the ideal means to encapsulate and concentrate Kinsella's vision of the land, animal life, and our sometimes fraught relationship with both. These short poems reveal astonishing and unsuspected correlations between music and form, place and language - and will come as a delightful surprise to those who know Kinsella primarily as a freewheeling long-form poet. But throughout Sack, the articulate urgency of Kinsella's lyric builds to nothing so much as a call to action, and underlines John Kinsella's reputation as one of the greatest Australian poets of the last fifty years.

With Armour, the great Australian poet John Kinsella has written his most spiritual work to date - and his most politically engaged. The world in which these poems unfold is strangely poised between the material and the immaterial, and everything which enters it - kestrel and fox, moth and almond - does so illuminated by its own vivid presence: the impression is less a poet honouring his subjects than uncannily inhabiting them. Elsewhere we find a poetry of lyric protest, as Kinsella scrutinizes the equivocal place of the human within this natural landscape, both as tenant and self-appointed steward. Armour is a beautifully various work, one of sharp ecological and social critique - but also one of meticulous invocation and quiet astonishment, whose atmosphere will haunt the reader long after they close the book. Praise for John Kinsella: 'Kinsella's poems are a very rare feat: they are narratives of feeling. Vivid sight - of landscapes, of animals, of human forms in distant light - becomes insight. There is, often, the shock of the new. But somehow awaited, even familiar. Which is the homecoming of a true poet' George Steiner

Australian John Kinsella is one of the most highly regarded poets currently writing in English. Taking Edmund Burke's 250-year old masterpiece A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful as his template, Kinsella has produced his most accomplished and broadly representative work to date. Shades of the Sublime & Beautiful is a warm, human, anecdotally rich book, concentrating many of the themes that have obsessed its author over the last twenty years: language, love, the invocation of place, the mysteries of the Australian wilderness, and our mediations between the human and natural realms. Together, these lyric meditations build towards a profound thesis on the ecology of the imagination, and are always conducted in concrete, vivid and exuberant language that is unmistakably Kinsella's own. 'Kinsella's poems are a very rare feat: they are narratives of feeling. Vivid sight - of landscapes, of animals, of human forms in distant light - becomes insight. There is, often, the shock of the new. But somehow awaited, even familiar. Which is the homecoming of a true poet' George Steiner 'John Kinsella is an Orphic fountain, a prodigy of the imagination . . . he frequently makes me think of John Ashbery: improbable fecundity, eclecticism, and a stand that fuses populism and elitism in poetic audience' Harold Bloom

With an Introduction by Rod Mengham.In The Silo, John Kinsella's fifth book of poems (and the second published by Arc), the poet examines the role of the artist in the landscape and the unique character of rural life. Using Beethoven's 6th ('Pastoral') Symphony as the framework for the collection, he explores the music of an Australian rural landscape and the European impact on a tenacious yet fragile environment."Many of the poems are vintage Kinsella, suffused in the beautifully audacious language of his later pastorals ¿ the metonymical manipulations of time and place that set you down firmly in the Australian landscape-history, yet by the end of the poem leave you wondering how he ever arrived at such seamless transformations and transportations."Andy Brown, PQR"The Silo is a fine sequence of poems, giving us a tough, focused, loving picture of Kinsella's heartland."Peter Bland, The London Magazine"John Kinsella, in The Silo, shows himself to be an authentic poet, astonishingly individuated. There are only a handful (or fewer) English-language poets of his generation whose work is already so original, so fully formed, and so clearly destined to become part of the central tradition."Harold BloomJohn Kinsella was born in Perth, Australia in 1963. He studied at the University of Western Australia and travelled extensively through Europe, the Middle East and Asia. He is a prolific writer and author of over 25 books, and has published poems in literary journals internationally and has received a number of literary awards. Since 1998, he has been International Editor for Arc Publications, with whom he has published four collections, the first of which, The Undertow: New and Selected Poems, was his first UK edition. His second collection for Arc, The Silo: A Pastoral Symphony (1997) was followed in 1999 by Landbridge: An Anthology of Contemporary Australian Poetry, which he edited. Lightning Tree was published in 2003, and America in 2006. His most recent collections include The Hunt, Peripheral Light: Selected and New Poems, The New Arcadia and Shades of the Sublime & Beautiful. He is a Fellow of Churchill College, Cambridge University, and a Research Fellow at the University of Western Australia.

"We are poised before...what I prophesy will be a major art."-Harold Bloom