Michael Longley Livres

Longley's genres span love poetry, war poetry, nature poetry, elegies, satires, verse epistles, poems that reflect on art and the art of poetry.

Emerging, as it did, after over a decade of silence, Gorse Fires had an immediate and resounding impact - revealing a poetry that seemed renewed and re-energised - and winning the Whitbread Prize for Poetry in 1991.

In the space of two collections, Gorse Fires (1991) and The Ghost Orchid (1995), Michael Longley broke a long poetic slience and re-drew the map of poetry at the end of the millenium. schovat popis

The poems collected in Snow Water find their gravity and centre in Michael Longley's adopted home in west Mayo, but range widely in their attention - from ancient Greece to Paris and Pisa, from Central Park to the trenches of the Somme.

Longley is well-known for his Homeric versions, and the Iliad is a presiding presence - both in poems about the Great War and in the range of imagery that gives his twin's death a mythic dimension.

'I can't bear the thought of a world without Michael Longley, yet his poetry keeps hurtling towards that fact more and more urgently as it stretches in an unflinching way beyond comfort or certainty.' So wrote Maria Johnston, reviewing Longley's previous book Angel Hill.

"Michael Longley's new collection takes its title from Dylan Thomas - 'for the sake of the souls of the slain birds sailing'. The Slain Birds encompasses souls, slayings and many birds, both dead and alive. The first poem laments a tawny owl killed by a car. That owl reappears later in 'Totem', which represents the book itself as 'a star-surrounded totem pole/ With carvings of all the creatures'. 'Slain birds' exemplify our impact on the creatures and the planet. But, in this book's cosmic ecological scheme, birds are predators too, and coronavirus is 'the merlin we cannot see'. Longley's soul-landscape seems increasingly haunted by death, as he revisits the Great War, the Holocaust and Homeric bloodshed, with their implied counterparts today. Yet his microcosmic Carrigskeewaun remains a precarious 'home' for the human family. It engenders 'Otter-sightings, elvers, leverets, poetry'. Among Longley's images for poetry are crafts that conserve or recycle natural materials- carving, silversmithing, woodturning, embroidery. This suggests the versatility with which he remakes his own art. Two granddaughters 'weave a web from coloured strings' and hang it up 'to trap a big idea'. The interlacing lyrics of The Slain Birds are such a web"--Publisher's description

The imaginative process is examined through the unique perspectives of four esteemed writers: poets Michael Longley and Eavan Boland, playwright Frank McGuiness, and novelist Anita Desai. Each essay delves into their individual experiences and sensibilities, offering diverse insights into creativity and the contexts that shape it. Together, these reflections illuminate the complexities of artistic expression and the varying approaches to the creative journey.

This is Michael Longley’s own selection from thirty years of writing. It reveals the strength and coherence of an extraordinary body of work, which has been celebrated—in Britain and Ireland, but also in the United States—for its lyric intensity, metaphysical wit, and thematic and formal range. Includes selections from No Continuing City (1969), An Exploded View (1973), Man Lying on a Wall (1976), The Echo Gate (1979), New Poems, Gorse Fires (1991), and The Ghost Orchid (1995).

Michael Longley has remarkable powers of reinvention. And Longley's interlacing of individual lyrics, so that a diverse collection seems a single poem, intensifies in the shadow of mortality. The title-poem evokes the oldest Byzantine church in Greece: Our Lady of a Hundred Doors on the island of Paros.