Fivefathers Interviews With Late Twentieth Century Scottish Poets

The last three decades have seen unprecedented flourishing of creativity across the Scottish literary landscape, so that contemporary Scottish poetry constitutes an internationally renowned, award-winning body of work. At the heart of this has been the work of poets. As this poetry makes space for its own innovative concerns, it renegotiates the poetic inheritance of preceding generations. At the same time, Scottish poetry continues to be animated by writing from other places. The Edinburgh Companion to Contemporary Scottish Poetry is the definitive guide to this flourishing poetic scene. Its chapters examine Scottish poetry in all three of the nation's languages. It analyses many thematic preoccupations: tradition and innovation; revolutions in gender; the importance of place; the aesthetic politics of devolution. These chapters are complemented by extended close readings of the work of key poets that have defined this era, including Edwin Morgan, Kathleen Jamie, Don Paterson, Aonghas MacNeacail and John Burnside.

Beat literature? Have not the great canonical names long grown familiar? Ginsberg, Kerouac, Burroughs. Likewise the frontline texts, still controversial in some quarters, assume their place in modern American literary history. On the Road serves as Homeric journey epic. "Howl" amounts to Beat anthem, confessional outcry against materialism and war. Naked Lunch, with its dark satiric laughter, envisions a dystopian world of power and word virus. But if these are all essentially America-centered, Beat has also had quite other literary exhalations and which invite far more than mere reception study. These are voices from across the Americas of Canada and Mexico, the Anglophone world of England, Scotland or Australia, the Europe of France or Italy and from the Mediterranean of Greece and the Maghreb, and from Scandinavia and Russia, together with the Asia of Japan and China. This anthology of essays maps relevant other kinds of Beat voice, names, texts. The scope is hemispheric, Atlantic and Pacific, West and East. It gives recognition to the Beat inscribed in languages other than English and reflective of different cultural histories. Likewise the majority of contributors come from origins or affiliations beyond the US, whether in a different English or languages spanning Spanish, Danish, Turkish, Greek, or Chinese. The aim is to recognize an enlarged Beat literary map, its creative internationalism.

D.H. Lawrence wrote over a thousand poems. Though much has been written about Lawrence's poetry, there have been few full length studies. This book deals with the whole range of his poetry from his earliest poems, such as 'To Campions' and 'To Guelder Roses', to the mature achievement, in free verse forms inspired by Walt Whitman, of Birds, Beasts and Flowers, Pansies and Last Poems. There are new interpretations of his most memorable poems, such as 'The Wild Common', 'Piano', 'Song of a Man Who Has Come Through', Tortoises, 'Peach', 'Pomegranate', 'Snake', 'Bavarian Gentians' and 'The Ship of Death'. "D. H. Lawrence: Poet, the fruit of forty years' reflection, is the most accessible introduction to Lawrence's poetry currently available. Supplemented by an extensive checklist of decades of critical writing, this highly entertaining book is a valuable resource, and makes fascinating reading for anyone interested in the development of modem poetry." Karl Orend, Times Literary.

Our best-selling poetry introduction offers a detailed commentary on the poetry of Philip Larkin, exploring the political and cultural contexts which have shaped his contemporary reputation. Part 1, Life and Times, traces Larkin's early years and follows his development, within his career as a university librarian, into one of the most important and popular voices in twentieth-century poetry. Part 2, Artistic Strategies, explores a range of methodologies and aesthetic influences by which Larkin was empowered to create poetry at once both accessible and profound. Part 3, Reading Larkin, provides detailed critical commentary on many of the poems from his three major collections, The Less Deceived, The Whitsun Weddings and High Windows. Part 4, Reception, outlines the history of Larkin's reputation from the mid-1950s to the present, examining the debates to which his poetry has given rise. John Gilroy teaches at Anglia Ruskin University and for the University of Cambridge Institute of Continuing Education.

A brilliant new study of perhaps the finest English poet of the 20th Century, by a distinguished critic and scholar.

Comic novelist and critic Paul McDonald explores the philosophy of humour in a book that will appeal to philosophers and creative writers alike. One aim of this book is to assess theories of humour and laughter. It concentrates mainly on philosophical approaches to humour- including those of Plato, Aristotle, Cicero, Descartes, Hobbes, Bergson, Kant, Schopenhauer, Kierkegaard, Freud and Bakhtin, but also explores such fields as cultural studies, literary theory, religion, psychoanalysis, and psychology; this broad focus makes for a richer account of humour, its relationship with philosophical thought, and its bearing on the human condition. Readers are invited to engage in creative writing exercises designed to exploit this crucial facet of humour, and to help them explore relevant issues imaginatively. In this way they will deepen their understanding of those issues, whilst at the same time cultivating their own creative skills. REVIEW COMMENT "The philosophical study of humour has a complex and fitful history: few people have been brave enough to write about humour seriously, and those who have tend to disagree with one another. For those seeking an entry point, Paul McDonald’s 'The Philosophy of Humour' (2012) gives a useful overview of the major theories. There are those who believe that laughter derives from a sense of superiority (Hobbes and Bergson) or from a sense of relief, or release of energy (Freud’s “economy of psychic expenditure”). But the earliest, most primal examples of humour all seem to have some sort of incongruity at their heart. McDonald gives the example of “the Lion Man figure found in 1939 in the Swabian Alps”, which is thought to be about 35,000 years old. Having the body of a lion and the legs of a man, it is thought to be one of the earliest examples of represented incongruity, dating from the time when human beings first developed “an ability to juxtapose disparate concepts”. Jonathan Coe, The Guardian.