Faber Poetry

[luka]

On amazon you can 'look inside' new faber books i thought we could learn something about modern life that way. Its my new thread idea. We will look at draw conclusions.

 

[Corpsey]

The Anchorage

Bernard O’Donoghue investigates the idea of anchorage as a place we build for ourselves out of memory and story.

www.faber.co.uk

How about this

 

[Corpsey]

 

[luka]

Love that primary school title

 

[Corpsey]

Chaotic Good

A piercing debut by Iasbelle Baafi about how we are made, how we get lost and how we find new selves. A Faber Poetry title.

www.faber.co.uk

 

[luka]

I decided not to read the derek walcott cos i decided it was just good writing. But at least its good writing. this is bad writing.

 

[Corpsey]

View attachment 23175

I don't see why this should be a poem, really. (This is how I feel about a lot of poetry FWIW.)

Is there a rhythmic pulse to it that I'm not appreciating?

It's a nice idea—the irony in supposing that an unhappy couple never had happy moments. And the optimism of the present moment. Yeah they had a shit time but they never had these beers we've got.

 

[william_kent]

more pain

Trauma and vulnerability - violation and its aftershock - are explored within a framework of self-determination and radical queerness in Richard Scott's second collection. In three distinct yet interlocking parts, he documents what it is to have survived 'seismic assaults, the buried silences'. This is first pursued through still-life paintings, controlled arrangements in which time is frozen. In 'Coy', the lexicon of Andrew Marvell's 'To His Coy Mistress' is repurposed to enact the collapse of language under the strain of description, punctuated by scalding direct statement. In the luminous title sequence, crystals and gemstones evoke themes of fracture and fixative, demonstrating Scott's power as a poet who casts an uncompromising but ultimately uplifting light.

'A luminous, uneasily beautiful set of poems.' Rebecca Tamas, Guardian

 

[Corpsey]

"Trauma and vulnerability - violation and its aftershock - are explored within a framework of self-determination and radical queerness in Richard Scott's second collection. In three distinct yet interlocking parts, he documents what it is to have survived 'seismic assaults, the buried silences'. This is first pursued through still-life paintings, controlled arrangements in which time is frozen. In 'Coy', the lexicon of Andrew Marvell's 'To His Coy Mistress' is repurposed to enact the collapse of language under the strain of description, punctuated by scalding direct statement. In the luminous title sequence, crystals and gemstones evoke themes of fracture and fixative, demonstrating Scott's power as a poet who casts an uncompromising but ultimately uplifting light."

Everything reads like an application to the arts council nowadays

 

[Corpsey]

O'Donghue again

And again—does this need to be a poem? What's so poetic about it?

Help me understand

 

[Benny Bunter]

 

[Corpsey]

that one rhymes, therefore is the best thing so far

 

[Benny Bunter]

Such ingenious 'word-play'!

 

[Benny Bunter]

 

[Corpsey]

Davies explores themes of identity and trauma

 

[luka]

Im going to do serious analysis but its too hot right now

 

[Corpsey]

Why are you angry? I'm trying to package you up for the Faber bods

 

[Corpsey]

You may have to pretend to be gay or asexual or something FYI

 

[Corpsey]

"Since the given name, Luke Davies, has Welsh and English roots, an African name inspired by his West African DNA could be Luke Adebayo Davies."

 

[luka]

Davies explores themes of identity and trauma

Themes of skunk psychosis and drug addled gibberish