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Notes on My Family
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Home
Home, the latest collection from writer Emily Critchley, is part experimental confession, part elegiac plea. It is an exploration of the damage done by, in and to many different manifestations of 'home', with poetry about child abuse, wrongful imprisonment, #MeToo, borders, Brexit, 'our lost biophilia' and global warming, among other issues. It is also an attempt to work through the pieces of a broken family, a broken society and a broken planet, with whatever limited tools the poet can summon. Whatever shards of hope may be picked out of the wreckage are in the understanding that we must be capable of doing more than we think - as individuals and collectively - to write a different future for ourselves and those with whom we share, indeed create, 'home'. The collection dreams of a new 'binding ground' - something stabler beneath all our feet, and that a turning point, a 'being otherwise' may be under way.
Out of Everywhere 2
In 1996, Reality Street published Out of Everywhere, the first anthology of its kind of innovative poetry by women in North America and the British Isles. Here, 20 years later, is the long-awaited follow-up, including the following 44 poets: Sascha Akhtar, Amy De'Ath, Mei-mei Berssenbrugge, Andrea Brady, Lee Ann Brown, Elizabeth-Jane Burnett, Mairead Byrne, Jennifer Cooke, Corina Copp, Emily Critchley, Jean Day, Rachel Blau DuPlessis, Carrie Etter, Kai Fierle-Hedrick, Heather Fuller, Susana Gardner, Susan Gevirtz, Elizabeth James/Frances Presley, Lisa Jarnot, Christine Kennedy, Myung Mi Kim, Frances Kruk, Francesca Lisette, Sophie Mayer, Carol Mirakove, Marianne Morris, Erin Moure, Jennifer Moxley, Redell Olsen, Holly Pester, Vanessa Place, Sophie Robinson, Lisa Samuels, Kaia Sand, Susan M Schultz, Eleni Sikelianos, Zoe Skoulding, Juliana Spahr, Elizabeth Treadwell, Catherine Wagner, Carol Watts, Sara Wintz, Lissa Wolsak. A limited-edition CD of audio work by nine of these poets accompanies this anthology, and is available for sale separately, exclusively from the Reality Street website while stocks last."
Love / All / and Ok
Love / All That /& OK, an anti-confessional by experimental British poet Emily Critchley. This major new publication brings together a diverse range of work previously published in chapbooks since 2004, and includes new material from the sequences 'Poems for Luke', 'The Sonnets' and 'Poems for Other People'. REVIEWS 'Really intelligent, coquette, fuck-you work ... a space for a new kind of anti-misogynism in poetry.' Marianne Morris 'I think the project is high electrics and considerable. I particularly care for the frailty and edges of coherence loss. It's the intelligent frays that push under my thought and matter most.' Allen Fisher " Critchley's] writing addresses love and gender politics with surprising directness, albeit mostly through misdirection, and though the book is couched as an 'anti-confessional', it strikes me as more of a kind of ironic examination of the confessional mode and its place in women's poetry." Jon Stone, Dr Fulminare
Tragedy, the Greeks and Us
We might think we are through with the past, but the past isn't through with us. Tragedy permits us to come face to face with the things we don't want to know about ourselves, but which still make us who we are. It articulates the conflicts and contradictions that we need to address in order to better understand the world we live in. A work honed from a decade's teaching at the New School, where 'Critchley on Tragedy' is one of the most popular courses, Tragedy, the Greeks and Us is a compelling examination of the history of tragedy. Simon Critchley demolishes our common misconceptions about the poets, dramatists and philosophers of Ancient Greece - then presents these writers to us in an unfamiliar and original light.
One Puzzling Afternoon
A captivating mystery perfect for fans of The List of Suspicious Things and Elizabeth is Missing. On a suburban street filled with secrets, 84 year old Edie Green must look back into the past to discover what happened to her friend Lucy, who went missing years before . . . *Selected as an Indie Book of the Month* It is 1951, and at number six Sycamore Street fifteen-year-old Edie Green is lonely. Living alone with her eccentric mother - who conducts seances for the local Ludthorpe community - she is desperate for something to shake her from her dull, isolated life. When the popular, pretty Lucy Theddle befriends Edie, she thinks all her troubles are over. But Lucy has a secret, one Edie is n...
One Puzzling Afternoon
On a suburban street filled with secrets, 84 year old Edie Green must look back into the past to discover what happened to her friend Lucy, who went missing years before . . .
The Undoing of Violet Claybourne
A dark, captivating novel of family secrets, desperate ambition and the deepest betrayal . . . TO BE ONE OF THEM, SHE WILL DO WHATEVER IT TAKES. 1938. Gillian Larking is used to blending in and going unnoticed, until she is befriended by her new roommate at boarding school, the vibrant and spirited Violet Claybourne. As the Christmas holidays approach, Gilly can't believe her luck when Violet invites her to spend them at her home, the crumbling Thornleigh Hall. At Thornleigh, Gilly is dazzled by the family's faded grandeur, and above all by Violet's beguiling older sisters who seem to accept her as one of their own. But following a terrible incident in the house's grounds, Gilly begins to re...
Women's Experimental Poetry in Britain 1970-2010
Women's Experimental Poetry in Britain 1970-2010 examines a critically neglected but significant body of contemporary writing, placing it within wider social and political contexts. Ranging from Geraldine Monk's ventriloquizing of the Pendle witches to Denise Riley's fiercely self-critical lyric poems—from the multi-media experiments of Maggie O'Sullivan to the globally aware, politicized sequences of Andrea Brady and Jennifer Cooke—it offers a needed theoretical look at women's experimental poetry in Britain over the past forty years, drawing on the likes of Julia Kristeva and others to show how the female poetic voice has constantly negotiated with dominant systems of representation.
