Alice Oswald Knihy

Básnická zbierka Lesy atď. je v tvorbe britskej poetky jednou z najcharakteristickejších. Jej verše plynú so zdanlivou ľahkosťou, no pri smerovaní k často prekvapujúcemu záveru sú takmer nebadateľne, no dômyselne rytmicky a rýmovo poprepletané. Prebásnenie je náročnou výzvou a vyžaduje mimoriadne skúseného prekladateľa. Jej knihy vychádzajú v najprestížnejších britských vydavateľstvách Faber and Faber a Jonathan Cape a za svoju tvorbu získala všetky najvýznamnejšie ostrovné ceny, vrátane ceny T. S. Eliota a Griffin Poetry Prize. Knihu preložila a doslov napísala Jana Kantorová-Báliková.

Focusing on the atmospheric elements of the Iliad, Alice Oswald's work reinterprets the epic by emphasizing its vivid natural imagery and the poignant list of war casualties. Rather than following the traditional narrative, she creates a memorial that honors the lives behind the names, capturing their enduring presence in memory. The poem blends narrative with musical repetition, transforming it into a meditation on the profound loss of human life, offering a fresh perspective on Homer's portrayal of the world.

To retrieve the poem's energy, Alice Oswald has stripped away its story, and her account focuses by turns on Homer's extended similes and on the brief 'biographies' of the minor war-dead, most of whom are little more than names, but each of whom lives and dies unforgettably - and unforgotten - in the copiousness of Homer's glance.

A collage of water stories from the Odyssey, reconstructed as a mesmeric and hallucinatory book-length poem by acclaimed poet Alice Oswald. In Memorial, her unforgettable transformation of the Iliad, Alice Oswald breathed new life into myth. In Nobody, she returns to Homer, this time fixing her gaze on a minor character in the Odyssey—a poet abandoned on a stony island—and the sea that surrounds him. Familiar voices drift in and out of the poem; though there are no proper names, we recognize Helios, Icarus, Alcyone, Philoctetes, Calypso, Clytemnestra, Orpheus, Poseidon, Hermes, and the presiding spirit of Proteus, the shape-shifting sea-god. As with all of Oswald’s work, this is poetry that is made for the human voice, but here the language takes on the qualities of another element: dense, muscular, and liquid. Reading Nobody is like watching the ocean; we slip our earthly moorings and follow the circling shoal of sea voices into a mesh of sound and light and water—fluid, abstract, and moving with the wash of waves.

POETRY BOOK SOCIETY CHOICEThe Thing in the Gap-Stone Stile, Alice Oswald's first collection of poems, announced the arrival of a distinctive new voice.

Weeds and Wild Flowers is a magical meeting of the poems of Alice Oswald and the etchings of Jessica Greenman. Within its pages everyday flora take on an extraordinary life, jostling tragically at times, at times comically, for a foothold in a busying world.

The voices are wonderfully varied and idiomatic - they include a poacher, a ferryman, a sewage worker and milk worker, a forester, swimmers and canoeists - and are interlinked with historic and mythic voices: drowned voices, dreaming voices and marginal notes which act as markers along the way.

Its subject is moonrise, which happens five times in five different forms: new moon, half moon, full moon, no moon and moon reborn. Its subject is moonrise, which happens five times in five different forms: new moon, half moon, full moon, no moon and moon reborn.

Winner of the 2016 Costa Poetry Award Shortlisted for the 2016 T. S. Eliot Award Shortlisted for the 2016 Forward Prize A Daily Telegraph / Guardian / Herald / New Statesman / Sunday Times / Times Literary Supplement Book of the Year Alice Oswald's poems are always vivid and distinct, alert and deeply, physically, engaged in the natural world. Mutability - a sense that all matter is unstable in the face of mortality - is at the heart of this new collection and each poem is involved in that drama: the held tension that is embodied life, and life's losing struggle with the gravity of nature. Working as before with an ear to the oral tradition, these poems attend to the organic shapes and sounds and momentum of the language as it's spoken as well as how it's thought: fresh, fluid and propulsive, but also fragmentary, repetitive. These are poems that are written to be read aloud. Orpheus and Tithonus appear at the beginning and end of this book, alive in an English landscape, stuck in the clockwork of their own speech, and the Hours - goddesses of the seasons and the natural apportioning of Time - are the presiding figures. The persistent conditions are flux and falling, and the lines are in constant motion: approaching, from daring new angles, our experience of being human, and coalescing into poems of simple, stunning beauty.

Archipelago is one of the most important and influential literary magazines of the lasttwenty years. Archipelago: A Reader gathers poetry, prose and visual art in clusters grouped around the Irishand British archipelago, with contributions from an array of significant artists.