Энтони Анаксагору0.0 What does it mean to have 'heritage', and how do we perform or undo it?
In these daring and sonorous poems, Anaxagorou conducts a researched unpacking of two countries whose dividing lines of a colonial past are still visible and felt.
Uniquely engaged with the complexities of Cyprus and the diasporic experience, these poems map both an island's public history alongside a person's private reckoning. They offer a ferocious and uncompromising look towards the damaging historical structures that have led to now.
Fearless, intensely honest and hopeful, Heritage Aesthetics merges Anthony's gift for performance and his brilliant experimentation with form to create a vivid insistence to communicate a self in the world.
Леа Ипи5.0 Lea Ypi grew up in one of the most isolated countries on earth, a place where communist ideals had officially replaced religion. Albania, the last Stalinist outpost in Europe, was almost impossible to visit, almost impossible to leave. It was a place of queuing and scarcity, of political executions and secret police. To Lea, it was home. People were equal, neighbours helped each other, and children were expected to build a better world. There was community and hope.
Then, in December 1990, a year after the fall of the Berlin Wall, everything changed. The statues of Stalin and Hoxha were toppled. Almost overnight, people could vote freely, wear what they liked and worship as they wished. There was no longer anything to fear from prying ears. But factories shut, jobs disappeared and thousands fled to Italy on crowded ships, only to be sent back. Predatory pyramid schemes eventually bankrupted the country, leading to violent conflict. As one generation's aspirations became another's disillusionment, and as her own family's secrets were revealed, Lea found herself questioning what freedom really meant.
Free is an engrossing memoir of coming of age amid political upheaval. With acute insight and wit, Lea Ypi traces the limits of progress and the burden of the past, illuminating the spaces between ideals and reality, and the hopes and fears of people pulled up by the sweep of history.
Рут Гиллиган0.0 Every year, Úna prepares for her father to leave her. He will wave goodbye early one morning, then disappear with seven other men to traverse the Irish countryside. Together, these men form The Butchers, a group that roams from farm to farm, enacting ancient methods of cattle slaughter.
The Butchers’ Blessing moves between the events of 1996 and the present, offering a simmering glimpse into the modern tensions that surround these eight fabled men. For Úna, being a Butcher’s daughter means a life of tangled ambition and incredible loneliness. For her mother Grá, it’s a life of faith and longing, of performing a promise that she may or may not be able to keep. For non-believer Fionn, The Butchers represent a dated and complicated reality, though for his son Davey, they represent an entirely new world—and potentially new love. For photographer Ronan, The Butchers are ideal subjects: representatives of an older, more folkloric Ireland whose survival is now being tested. As he moves through the countryside, Ronan captures this world image by image—a lake, a cottage, and his most striking photo: a single butcher, hung upside-down in a pose of unspeakable violence.
Роджер Робинсон0.0 Roger Robinson’s range is wide: the joys and pains of family life; the ubiquitous presence of racism, both subtle and unsubtle; observations on the threatening edge of violence below the surface energies of Black British territories in London; emblematic poems on the beauty and often bizarre strangeness of the world of animals; quizzical responses to the strange, the heartening, and the appalling in incidents or accounts of incidents encountered in daily life; reflections on the purposes and costs of making art, as in fine poems on a George Stubbs’ painting, John Coltrane’s Ascension and cocaine. Not least, in the sequence of poems that reflect on the meanings of the Grenfell Tower fire, Roger Robinson finds ways to move beyond a just indignation to uncover the undertones of experience that bring us nearer to the human reality of that event.
The collection’s title points to the underlying philosophy expressed in these poems: that earthly joy is, or ought to be, just within, but is often just beyond our reach, denied by racism, misogyny, physical cruelty and those with the class power to deny others their share of worldly goods and pleasures. A Portable Paradise is not the emptiness of material accumulation, but joy in an openness to people, places, the sensual pleasures of food and the rewards to be had from the arts of word, sound and visual enticement – in short an “insatiable hunger” for life. The poems express a fierce anger against injustice, but also convey the irrepressible sense that Roger Robinson cannot help but love people for their humour, oddity and generosity of spirit.
These are finely crafted poems, that reveal Roger Robinson’s capacity to tell involving stories and capture the essence of a character in a few words, to move the emotions with the force of verbal expression, and engage our thoughts, as in the sequence of poems that reflect on just what paradise might be. A Portable Paradise is a feast to be carried by lovers of poetry wherever they go.
Аида Эдемариам3.5 In this indelible memoir that recalls the life of her remarkable ninety-five-year old grandmother, Guardian journalist Aida Edemariam tells the story of modern Ethiopia—a nation that would undergo a tumultuous transformation from feudalism to monarchy to Marxist revolution to democracy, over the course of one century.
Born in the northern Ethiopian city of Gondar in about 1916, Yetemegnu was married and had given birth before she turned fifteen. As the daughter of a socially prominent man, she also offered her husband, a poor yet gifted student, the opportunity to become an important religious leader.
Over the next decades Yetemegnu would endure extraordinary trials: the death of some of her children; her husband’s imprisonment; and the detention of one of her sons. She witnessed the Fascist invasion of Ethiopia and the subsequent resistance, suffered Allied bombardment and exile from her city; lived through a bloody revolution and the nationalization of her land. She gained audiences with Emperor Haile Selassie I to argue for justice for her husband, for revenge, and for her children’s security, and fought court battles to defend her assets against powerful men. But sustained, in part, by her fierce belief in the Virgin Mary and in Orthodox Christianity, Yetemegnu survived. She even learned to read, in her sixties, and eventually made a pilgrimage to Jerusalem.
Told in Yetemegnu’s enthralling voice and filled with a vivid cast of characters—emperors and empresses, priests and scholars, monks and nuns, archbishops and slaves, Marxist revolutionaries and wartime double agents—The Wife’s Tale introduces a woman both imperious and vulnerable; a mother, widow, and businesswoman whose deep faith and numerous travails never quashed her love of laughter, mischief and dancing; a fighter whose life was shaped by direct contact with the volatile events that transformed her nation.
An intimate memoir that offers a panoramic view of Ethiopia’s recent history, The Wife’s Tale takes us deep into the landscape, rituals, social classes, and culture of this ancient, often mischaracterized, richly complex, and unforgettable land—and into the heart of one indomitable woman.
Паскаль Пети0.0 Mama Amazonica is set in a psychiatric ward and in the Amazon rainforest, an asylum for animals on the brink of extinction. It reveals the story of Pascale Petit’s mentally ill mother and the consequences of abuse. The mother transforms into a giant Victoria amazonica waterlily, and a bestiary of untameable creatures – a jaguar girl, a wolverine, a hummingbird – as she marries her rapist and gives birth to his children. From heartbreaking trauma, there emerge luxuriant and tender portraits of a woman battling for survival, in poems that echo the plight of others under duress, and of our companion species. Petit does not flinch from the violence but offers hope by celebrating the beauty of the wild, whether in the mind or the natural world.
Mama Amazonica is Pascale Petit's seventh collection, and her first from Bloodaxe. Four of Pascale Petit's previous six collections have been shortlisted for the T.S. Eliot Prize. From the reviews:
Francis Spufford0.0 New York, a small town on the tip of Manhattan Island, 1746.
One rainy evening in November, a handsome young stranger fresh off the boat pitches up at a counting-house door in Golden Hill Street: this is Mr. Smith, amiable, charming, yet strangely determined to keep suspicion simmering. For in his pocket, he has what seems to be an order for a thousand pounds, a huge amount, and he won't explain why, or where he comes from, or what he can be planning to do in the colonies that requires so much money.
Should the New York merchants trust him? Should they risk their credit and refuse to pay? Should they befriend him, seduce him, arrest him; maybe even kill him?
As fast as a heist movie, as stuffed with incident as a whole shelf of conventional fiction, Golden Hill is both a novel about the 18th century, and itself a book cranked back to the novel's 18th century beginnings, when anything could happen on the page, and usually did, and a hero was not a hero unless he ran the frequent risk of being hanged.
This is Fielding's Tom Jones recast on Broadway - when Broadway was a tree-lined avenue two hundred yards long, with a fort at one end flying the Union Jack and a common at the other, grazed by cows.
Rich in language and historical perception, yet compulsively readable, Golden Hill has a plot that twists every chapter, and a puzzle at its heart that won't let go till the last paragraph of the last page.
Set a generation before the American Revolution, it paints an irresistible picture of a New York provokingly different from its later self: but subtly shadowed by the great city to come, and already entirely a place where a young man with a fast tongue can invent himself afresh, fall in love - and find a world of trouble.
Питер Померанцев4.3 In the new Russia, even dictatorship is a reality show.
Professional killers with the souls of artists, would-be theater directors turned Kremlin puppet-masters, suicidal supermodels, Hell’s Angels who hallucinate themselves as holy warriors, and oligarch revolutionaries: welcome to the glittering, surreal heart of twenty-first-century Russia. It is a world erupting with new money and new power, changing so fast it breaks all sense of reality, home to a form of dictatorship—far subtler than twentieth-century strains—that is rapidly rising to challenge the West.
When British producer Peter Pomerantsev plunges into the booming Russian TV industry, he gains access to every nook and corrupt cranny of the country. He is brought to smoky rooms for meetings with propaganda gurus running the nerve-center of the Russian media machine, and visits Siberian mafia-towns and the salons of the international super-rich in London and the US. As the Putin regime becomes more aggressive, Pomerantsev finds himself drawn further into the system.
Dazzling yet piercingly insightful, Nothing Is True and Everything Is Possible is an unforgettable voyage into a country spinning from decadence into madness.
Джастин Мароцци0.0 Over thirteen centuries, Baghdad has enjoyed both cultural and commercial pre-eminence, boasting artistic and intellectual sophistication and an economy once the envy of the world. It was here, in the time of the Caliphs, that the Thousand and One Nights were set. Yet it has also been a city of great hardships, beset by epidemics, famines, floods, and numerous foreign invasions which have brought terrible bloodhsed. This is the history of its storytellers and its tyrants, of its philosophers and conquerors.
Here, in the first new history of Baghdad in nearly 80 years, Justin Marozzi brings to life the whole tumultuous history of what was once the greatest capital on earth
Алан Джонсон0.0
Alan Johnson's childhood was not so much difficult as unusual, particularly for a man who was destined to become Home Secretary. Not in respect of the poverty, which was shared with many of those living in the slums of post-war Britain, but in its transition from two-parent family to single mother and then to no parents at all...
This is essentially the story of two incredible women: Alan's mother, Lily, who battled against poor health, poverty, domestic violence and loneliness to try to ensure a better life for her children; and his sister, Linda, who had to assume an enormous amount of responsibility at a very young age and who fought to keep the family together and out of care when she herself was still only a child.
Played out against the background of a vanishing community living in condemned housing, the story moves from post-war austerity in pre-gentrified Notting Hill, through the race riots, school on the Kings Road, Chelsea in the Swinging 60s, to the rock-and-roll years, making a record in Denmark Street and becoming a husband and father whilst still in his teens.
This Boy is one man's story, but it is also a story of England and the West London slums which are so hard to imagine in the capital today. No matter how harsh the details, Alan Johnson writes with a spirit of generous acceptance, of humour and openness which makes his book anything but a grim catalogue of miseries.
