Bøger udgivet af Recent Work Press

Meerabai (1498-1556) was a poet, singer and dancer and a devotee of Hindu god Krishna. She is revered as one of the prominent voices of the Bhakti Movement: a movement of religious reformation which valued personal engagement with deities over traditional ritualistic practices.Rain Clouds offers fifteen of her devotional love poems in both Hindi and English, translated by multi-lingual scholar and poet Subhash Jaireth.

In Dublin Wandering, Nathanael O'Reilly rearranges, remixes and recombines words and phrases from James Joyce's Ulysses into seventeen poems, each named for the corresponding episodes in Joyce's novel. Dublin Wandering is a surrealist work inspired by modernist techniques and philosophies, created as a homage to Joyce's masterpiece and Dublin.

In the face of fire, flood, plague, environmental catastrophe and political chaos the challenge is that poetry, in Auden's words, 'show an affirming flame'. The poems in The Dancing Man are an attempt to move from grief and loss towards consolations, however limited these might be. Intimations of connection and inter-dependence between all living things is the fragile basis for a first step towards spiritual re-orientation and an art of hope.

Nigel Kennedy is one of the world's foremost violinists. His achievements have been met with great acclaim, not least his ability, both as performer and composer, to move across and blend an extraordinary range of musical genres and styles, resisting any notion of classification. Yet he remains a controversial figure, having rocked the classical music establishment with his radical innovations and uncompromising views. Paul Munden has followed Nigel Kennedy's musical journey for many years, and here sets down his reflections on everything he has gained from that experience. From a poet's perspective, he writes about Kennedy's extraordinary output, indeed the poetry of his playing. A sequence of chapters exploring various themes is interspersed with original poems, the idea deriving from Kennedy's own improvised transitoires.

In this volume, five prose poets explore the Five major oceans as they are currently classified: the Pacific, the Atlantic, the Indian, the Southern and the Arctic.Each 21-part sequence of poems is a particular-and sometimes oblique-rumination on one of these vast bodies of water. Together they offer an inspiring and sometimes troubling exploration of our relationship with what is, essentially, a single oceanic entity.

The Sea Chest is a visceral, moving, and emotionally layered account of life in the aftermath of loss. In 2017, Kerry Greer's husband Gabriel ended his life with horrific violence, dying on the kitchen floor of his parents' home.Haunting in its honesty, and underpinned by a connection to the spirituality of the natural world, The Sea Chest traces the impact of Gabriel's death over years and continents. The collection provides a counter-narrative to ideas of grief portrayed in sympathy cards or Hollywood movies. There is no redemptive narrative arc, no going "back to normal." But there is the old love-the indissoluble thread that is now called grief.Imagistic and probing, The Sea Chest speaks directly into the void. In the stillness, in the grey: a ripple, an answer from the ether, asking the reader to listen, to not turn away. The Sea Chest becomes a holding space for grief-for the things which cannot be said out loud, but which need to be voiced. This is poetry as invocation, poetry as love enacted, poetry as gateway to the liminal and the sacred.

Feldspar, the new collection of poetry from Brendan Ryan, is unflinching in its focus on rural landscapes, the treatment of farm animals and the humble lives of people often missing from poetry. There are odes to invigilators, truck drivers, a family member who took to walking, laments for dogs and the hardened realities of country living. A sense of longing for and loss from the country is a sub-text for poems that reveal how place is never only a geographical location, but more of a state of mind to be revisited again and again and where belonging can also be found in music, driving or looking at the country you inevitably return to.

For over a decade, international poets Alvin Pang (Singapore) and George Szirtes (UK) have met time and again-as friends and fellow wordsmiths on page and stage-until the Covid-19 pandemic struck. Confined to different sides of the globe, they began to write poems back and forth in response to one another. Reflecting on the circumstances in which we find ourselves living, the two poets dance in language through questions of life and time, with the world teetering from Covid through Black Lives Matters and Brexit to the Ukraine conflict.

Erin Shiel's debut collection brings together insightful vignettes about the arc of maturity to womanhood, exploring kindness, grief and the neglected beauty of everyday life. The collection slips through multiple identities, interleaving ekphrasis with lyric and nature poems. The effect is a dynamic tension between fiction and truth, invention and autobiography. Many of the poems, imbued with nostalgia, reclaim the liminality of girlhood, as an opportunity to form identity. A ghost girl character appears guiding the reader through the sections of the collection, with poems related in turn to the themes of girlhood, identity, finding mettle and contemplating nature. With whimsy and playfulness, emotional insight and nuance, Girl on a Corrugated Roof uses empathy and the natural environment to draw art out of the gallery and into our everyday lives.

being one too law-abiding to smash windowsbeing free with spray can and ready-made slogan politicsthere is a line-my body is on the lineat risk and on fileIt's the 1970s and 1980s, and Sandra Renew, a young lesbian activist in Far North Queensland, is involved in some of the most politically charged moments in Australian history. From Pine Gap to civil rights marches in Queensland to the first Gay and Lesiban Mardi Gras and beyond, Apostles of Anarchy juxtaposes newspaper headlines and archival material with the personal experience of these struggles. It asks what it is to fight for the acceptance of difference in a discourse of prejudice and hostility.

In 1778, Dorothy Wordsworth's mother died, and the six-year-old Dorothy was sent to live with extended family. She never returned to the family home, and it was not until adolescence that Dorothy became reacquainted with her brother William. The two formed an intense and passionate emotional bond. By 1794 they were living together from that time would rarely be physically separated for more than a few weeks at a time, for the rest of their lives.Written in the voice of Dorothy, Beloved traces the progression of their relationship, from the ecstatic infatuation of youth onwards, drawing upon Dorothy's diaries and letters as well as the recollections of friends and family members and literary and biographical scholarship.

These are poems of love and loss, they imagine a world where hawks fly from the arms of lovers and disappear into a dying world, where golden fish rise from rivers and tangle themselves in hair, where molecules and mist carry messages of love through cites. In this collection, beginnings and endings slice across each other, modern and mythic intertwine, the everyday is stirred into a world of metaphor and incantation. Individual poems chime off each other, creating strands of narrative which circle the collection's central symbol, the nekhau - small fish-shaped amulets crafted by ancient Egyptians and plaited through the hair of loved ones to ward off drowning. In a contemporary and at times imaginary world, the poems become nekhau, articulating the fears and dangers underlying love in order to subdue them. In doing so the poems transform many tropes of love poetry, repositioning them in contexts both everyday and otherworldly. The bodies in these poems fight against the mortality of love, they borrow lore and build new myths as a way to protect love's fragility. Glistening with musicality and precision, these poems twist and shimmer like fish leaping toward the fears that have shaped them.

Beginning in Sight is Theodore Ell's first poetry collection. It brings together work written over more than ten years, tapping into the memories, life-stories and mirror-images that resist time and recouple bygone experience to the drifting world of today. The poems branch out from Ell's original home of Sydney into its hinterland, the coast and the Hunter, snatching moments of respite and pleasure in troubled times, before finding new bearings in the Canberra region. Haunted by the presence of vanished lives and histories, these are poems of perseverance, endurance and a past that seems to know what is coming.

With stunning formal range and architectural design, Anders Villani's second collection explores how violence engenders selfhood by calling it into radical question. What does it mean to suffer in a body that also symbolises power? How can poetry, alert to the 'blur' and the 'panorama', trace this moral dissonance at its subtlest and most intimate? How do notions of illness and recovery, victim and perpetrator, rest on fraught archetypes, and what alternate understandings emerge when these foundations waver? Villani roves between myth, confession, narrative, and dream to address such questions-not abstractly, but through the experiences of a subject whose capacity to love and be loved is at stake.Novelistic in arc and scope, lyrically sensuous and searching, Totality invites readers on a journey of self-inquiry that dredges new channels in the contemporary poetics of trauma. As secrets reveal and conceal themselves, through the crucible of hypermasculinity, and with unstinting compassion, Villani's poems venture an expansive and timely music.

True to its title, the poems in O'Hagan's second poetry collection, Anamnesis, allude to a world hovering at the edges of our minds, one that can be sensed and yet lies, teasingly, just beyond conscious reach. The arc of poems through time and distance represents a summoning up of, and immersion in, small moments which reveal themselves to be quietly momentous; a distillation of personal experience from which we feel there is something to be collectively gleaned. The recovery of memory in its various facets is explored, and the poetry that emerges is both poignant and lyrical.

In April 2020, amidst the global pandemic of Covid-19, the Australasian Association of Writing Programs (AAWP), the peak academic body representing the discipline of Creative Writing in Australasia, sent a call for contributions to The Incompleteness Book (2020: Recent Work Press). The storytellers and poets were asked to respond to the prompt: the incompleteness of human experience. The second edition represents the impetus to capture a composite picture of what writers made of this prompt, one year on. Contributors were asked to consider what they had discarded; what they coveted more closely than ever; whether they had learned something, about themselves or more broadly. In this thought-provoking collection contributors were asked to write back and think forward.

Over the last five years, from the #Me Too Movement to same-sex marriage, from devastating bush fires to the global pandemic, the online poetry journal Not Very Quiet has dedicated itself to publishing women's voices from across the globe. Not Very Quiet: The anthology selects poetry that has given voice to the social conscience of the community, constructions of lesbian and queer, the challenges posed to the social construction of gender, as well as the complexities and possibilities of the human condition.

Hesiod's Five Ages famously proides a vision of the decline of human society that has resonated for many centuries. In this anthology, five poets take Hesiod's versions of the golden, silver, bronze, heroic and iron ages as their starting points to craft five individual 'chapbooks' of prose poetry - not only exploring notions from Hesiodbut also venturing into many new concepts that reconceptualise these ages.These twenty-first century poems challenge many of the archaic Greek poet's assumptions and ideas, writing back to the ancient world with bravura while employing quintessentially contemporary inflections and preoccupations.

Told through a series triptychs-each with a poem, a work of essayistic prose and a photographic image-White Clouds Blue Rain captures discrete moments of life with precise yet unpredictable detail. Taking cues from artists, writers and architects, Driscoll gently binds the everyday to the abstract, moving from the dual vantage points of an apartment block in Melbourne and a former family home in North Queensland out to questions of form, shape and aesthetics as well as the act of making and our relationships with people, objects and physical space. There's a spaciousness and glasslike stillness to this work that carefully diffuses meaning, never allowing it to settle.

2021 is the 700th anniversary of the death of Dante Alighieri, author of the long narrative poetic trilogy, The Divine Comedy. In a time of global pandemic, Dante''s exploration of the relationship between the physical and spiritual worlds and humankind''s responsibilities to each other seems particularly relevant, and to commemorate Dante''s anniversary we invited 70 poets from around the world to respond to Dante''s famous work, assisted by a team of seven contributing editors: Paul Munden (UK), Nessa O''Mahony (Ireland), Paul Hetherington (Australia), Alvin Pang (Singapore), Priya Sarukkai Chabria (India), Moira Egan (Italy) and David Fenza (US).

Throughout his forties and fifties Phillip found himself on a sticky wicket: the grief for his baby son and younger brothers, suicide attempts, self-harming, the premature termination of his career, and the failure of religious belief to explain or console. In and out of psychiatric care, he has been treated for PTSD, severe depression and social anxiety. There are consolations: family, companion greyhounds, Sunshine, the Western Bulldogs and Australian Football, books, the fine and performing arts but, for Phillip, this remains a time of loss and despair. This is, therefore, a collection of lamentations, achingly focused on what it is to live with poor mental health, but it is also a defiant celebration of survival and the redeeming power of familial love, sport and the arts.