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In Search of Dustie-Fute
Who is Dustie-Fute? A vagrant, a hawker, a poet. A dusty-footed Scottish Orpheus. A stranger, a migrant, a ghost. In his search for Dustie-Fute, David Kinloch begins amid the Parisian floods of 1910: with the waters rising, a lonely giraffe speaks from the abandoned zoo, witness to what seems the end of the world. Other animals chime in, Dustie-Futes all, a hooved and humped chorus of watery sages. Elsewhere, two young college dudes quote Rilke at each other. Cain's wife, the Virgin Mary and that eternal stepdad St Joseph draw on memories they didn't know they had. In a series of feminist monologues, feisty biblical women seek revenge on their husbands and oppressors, before Dustie-Fute's final incarnation as a Cavafy-reading Syrian refugee. Who is Dustie-Fute? Many are, and many have been. A fellowship of strangers across time: free spirits, survivors. Kinloch's bestiary of forgotten voices spans apocalypse and salvage, elegy and humour. Mythic and erotic, his poems engage ecological disaster, LBGT art and politics, and that great resistance movement, love.
Greengown
David Kinloch is one of the notable Scottish poets of his generation. Edwin Morgan admired his 'sparkling poems full of sensuous richness and linguistic inventiveness'; and Douglas Messerli declared, 'David Kinloch is surely one of the most innovative poets ever to come out of Scotland... [his] readers must be prepared to take a long voyage through language, imagination, and space. While it isn't always easy, it's always worth the trip.' This is his fifth Carcanet collection. It includes a distillation of his earlier work, and new poems that delight and challenge. Morgan praised his success in the 'impossible genre', the prose poem, his elegies, his flytings. He has been an activist as well as a poet, helping to set up The Edwin Morgan Trust and the first Scottish Writers' Centre.
In My Father's House
"From a quick-tempered singing grandmother to a performance of The Mikado in an African village: David Kinloch's exploration of his relationship with his father is both unexpected and affectionate. An extended sequence of poems moves from personal memory to reflections on the values embodied in such cultural father-figures as David Livingstone and the Irish patriot Roger Casement. Translations of poems by Paul Celan and others into vivid Scots illuminate the disturbing connections between patriarchy and twentieth-century violence. In contrast, moving and humorous 'dissections' of adult relationships evoke images of the body both scientific and spiritual."--Jacket.
Finger of a Frenchman
Finger of a Frenchman explores looking, and writing about looking: looking at surfaces and beyond them, at what is depicted and what is hidden in shadow, at how a transient chemistry of light may be fixed in colour and words. Kinloch's poems are portraits of artists and reflections on art through five centuries of the artistic bond between Scotland and France. John Acheson, Master of the Scottish Mint, takes Mary, Queen of Scots' portrait for the Scottish coinage, Esther Inglis paints the first self-portrait by a Scottish artist; Jean-Jacques Rousseau ticks off his portrait painter, Allan Ramsay, and Eugene Delacroix offers David Wilkie a brace of partridge for tea in Kensington. The Glasgow...
Paris-Forfar
In this collection of poems the Reverend Robert Walker skates again on Duddingston Loch, a goat devours 'Le Monde' in an Ethiopian desert, a minstrel pays a visit to a clinic for sexually transmitted diseases, and Pat Kane hits a high note with unexpected consequences.
Un Tour D'Ecosse
Un Tour d'Ecosse
Dustie-fute
None
Southfields
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In Search of Dustie-Fute
"Who is Dustie-Fute? A vagrant, a hawker, a poet. A dusty-footed Scottish Orpheus. A stranger, a migrant, a ghost. In his search for Dustie-Fute, David Kinloch begins amid the Parisian floods of 1910: with the waters rising, a lonely giraffe speaks from the abandoned zoo, witness to what seems the end of the world. Other animals chime in, Dustie-Futes all, a hooved and humped chorus of watery sages. Elsewhere, two young college dudes quote Rilke at each other. Cain's wife, the Virgin Mary and that eternal stepdad St Joseph draw on memories they didn't know they had. In a series of feminist monologues, feisty biblical women seek revenge on their husbands and oppressors, before Dustie-Fute's final incarnation as a Cavafy-reading Syrian refugee. Who is Dustie-Fute? Many are, and many have been. A fellowship of strangers across time: free spirits, survivors. Kinloch's bestiary of forgotten voices spans apocalypse and salvage, elegy and humour. Mythic and erotic, his poems engage ecological disaster, LGBT art and politics, and that great resistance movement, love."--Page 4 of cover
The Thought and Art of Joseph Joubert, 1754-1824
This book rescues Joubert from the ranks of minor French moralistes and by tracing the development of his thought, from his time as secretary to Diderot through to the period of his association with Chateaubriand, demonstrates that he was a writer on aesthetics of considerable sensitivity. Examination of his manuscripts and of his annotation to books in his library shows that Joubert's primary concern, during the period that witnessed the gradual but profound change from the intellectual values of the Enlightenment to those of the Romantic period, was to establish the status and nature of art and poetry. Reading widely among philosophers and poets from Plato and Homer to Kant and Andre Chenier, Joubert consigned his thoughts and perceptions to a series of Carnets which form the basis of this study and bear witness to an unusually eclectic and enquiring mind. Joubert's significance is not confined to the Enlightenment and Romantic periods. He is unique among writers of his day in the way that his own interrogation of the very act of writing anticipates the aesthetic of later, highly influential writers such as Stephane Mallarme.
