Bøger af Glyn Maxwell

A Boston Globe Best Poetry Book of 2011The poems of Glyn Maxwell possess a slow, quiet fire. They refrain from grand gestures, from loud proclamations of emotion. Instead, Maxwell unveils these emotions gently, quietly, intricately-like little postcards in a waxed envelope. Each of his poems is Blake's "world in a grain of sand." Maxwell's works reveal very little about their subjects; there are, rather, merely the faintest, well-chosen hints of quotidian life: a man kills a wasp; a man falls in and out of love; a man escapes from an unnamed pursuer. But from these suggestive fragments, it is possible to extrapolate an entire world. The casual virtuosity that first brought Maxwell great renown is on show throughout the poems collected in One Thousand Nights and Counting. Lyrical or narrative, comic or contemplative, these are profound, resonant explorations of love and fatherhood, of triumph and longing. They will not soon be forgotten.

A haunting and powerful collection, The Nerve captures the strangeness and splendor of America in the twenty-first century. Glyn Maxwell's characters include FBI agents, the Californian "wild child" Genie, a man who holds his own funeral, and women writing love letters to men on Death Row. From college football games to television weather reports, from hayrides to hunting tragedies, Maxwell's brilliant lyrics and narratives explore American life and legend.

Time's Fool tells the tale of Edmund Lea, a young man condemned to eternity alone until he determines how to lift the curse upon him. Edmund perpetually rides a phantom train -- except on Christmas Eve every seven years, when he is allowed to revisit his English hometown. He tries to break the spell by way of love, repentance, and death -- all in vain. Time passes, from 1970 to 2019, but Edmund remains seventeen, unable to age but watching the world grow older. Infused with a dark humor and an almost unbearable nostalgia, Time's Fool is a brilliant achievement, "classic yet hip, stylized yet inventive" (Scotsman).

The brilliant new collection from a major voice in contemporary poetry

This book selects from twenty years of Glyn Maxwell's poetry, and provides a concise introduction to one of the most imaginatively gifted poets of the age. Maxwell's is perhaps the most immediately recognizable voice in British poetry: wry, wise, compellingly rhythmic, and everywhere carrying a sense of the dramatic line no other British poet has won for their verse since W. H. Auden. While wholly contemporary in their social and political concerns, these poems are haunted by forgotten histories, traditional fairytale and myth, parallel worlds which mirror or merge with our own. As Joseph Brodsky noted early in his career, the beating heart of this imaginative risk is the syntax itself: in Maxwell's hands the poetic sentence becomes a fluid, new and protean thing, a means by which the very structure of time, voice and location may be questioned and made strange. Maxwell is a poet essential to understanding our own unstable times, and few other contemporary writers give us such pause before the world we thought we knew. 'Glyn Maxwell covers a greater distance in a single line than most people do in a poem' Joseph Brodsky

On Poetry will be prized by writers and readers who wish to understand why and how poetic technique matters. Long regarded as one of Britain's major poets, Glyn Maxwell shows that the greatest verse arises from a harmony of mind and body, and that poetic forms originate in human necessities: breath, heartbeat, footstep, posture.

Pluto - the non-planet, the ex-planet - is the dominant celestial influence in Glyn Maxwell's new collection: Pluto is a book about change, the before-and-after of love, the aftermath of loss: change of status and station, home and place, of tense and pronoun. It also marks a radical departure for one of our most celebrated English poets: his formidable skills as a rhetorician and dramatist are suddenly directed inwardly, to produce poems of brutal self-examination, raw elegy, and strange songs of the kind those bruising encounters often leave us singing to ourselves. In Pluto, Maxwell has set out something like a metaphysic of the affair; the result is a lean and concentrated poetry of great emotional power, and far and away Glyn Maxwell's most directly personal work to date.

A history, a legend, a rumour, this book contains three stories drawn from the shadows of England... "The Lifeblood" depicts the last days of Mary Queen of Scots; "Wolfpit" brings alive the chronicle of the Green children of Suffolk; and love comes to Mary Kelly, "The Only Girl in the World", otherwise known as the last victim of Jack the Ripper.

In Hide Now, Glyn Maxwell shows how the times have begun to warp time itself: in the poet's vision, the past rears up again with its angry ghosts, the present is racked by its martial and climatic nightmares, and the future has already come and gone. All the stories of the earth seem menaced by just one - to which nations cover their eyes and ears, and from which the grown-ups run and hide. Scheherazade, Robespierre, Dick Cheney and the Reverend Jim Jones all have their place here, though the book's presiding genius is the lonely figure of Cassandra, cursed with knowing the fate of a world that finds her screamingly funny. Glyn Maxwell has established an international reputation as one of the most intelligent and stylishly original English poets since Auden, and he has never written with greater urgency or power. '[Maxwell's] astonishing technical facility can make syllables, vowels and consonants do absolutely anything. His energetic voice riffs through evasively ordinary speech taking on love, politics, comedy and bizarre narratives in brilliantly elaborate syntax and forms' Independent

A topical and accessible collection, The Sugar Mile takes its readers on a journey from wartime London to modern-day America. In a series of monologues, each beautifully drawn and intimate, Glyn Maxwell details the effects and experiences of conflict: the sense of community bounded by a distrust of strangers and foreigners; whole streets razed to the ground; homes lost, possessions misplaced and characters displaced; fears for loved-ones offset by tentative bargains with god; casual encounters given an intense, unreal edge by the context in which they occur; the routine drama and unfamiliar 'everydayness' of bombs, blackouts, shelters, temporary accommodation and evacuation . . . With painstaking clarity and honesty, Maxwell has captured the surrealism of a world under siege -- whether WWII or the war on terror declared post 9/11.