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Dirt
Billy Letford's Dirt revels in the fallow, the tainted, the off , and the unloved. The poems embrace a good life stitched together with bad circumstances, bungled chances, missed callings. Whether loitering on the street corner, 'poackets ful eh ma fi ngers', or stumbling from a bar 'like a monkey in the jungle of traffi c, stinking, wild and free', the characters in Letford's poems deliver one thing in spades: heart. 'On Friday I visit my seventy-seven-year-old granny. She's smoking a joint. It's not a surprise.' Letford's words are lightly worn yet carefully measured; they move between English and Scots, lyrical and concrete, accumulating what the poet has described as an array of textures. Resisting modernity's unearthly glare, it is a life with grain, with grit, 'rotten with wonder', that Letford seeks. The poems dig for a grace within dirt's humble endurance. 'There's dignity there. Lay yourself open.'
Bevel
Bevel is William Letford's first book, but his poems have already earned him a large following thanks to his brilliant performances and through Carcanet's New Poetries V anthology. Letford makes poems from the rhythms of speech and the stuff of daily life: work and love, seasons and cities, and his writing is alive with the wonder and comedy of the mundane. 'Bevel is filled with voices - an he says / A love the summer / it's hoat / ye kin wear yer shoarts...' - and with the knowledge that becomes engrained in the body: 'The weight of a drill. The texture of rust.' Letford works as a roofer, a trade that gives him a particular perspective on life at ground level. 'Be prepared,' he writes: pay attention to the moment, know which way to fall. His poems are sure and strong, the words dance.
From Our Own Fire
This prose and poetry tour de force of storytelling has the narrative punch of a novel. It is a new departure for the poet, and for poetry itself. It takes the reader into the not-too-distant future: an artificial intelligence rules the world, and a working-class family use their wits to live off the land. William Letford blends prose and his inimitable poetry: sci-fi and hunter-gatherer are merged into a coherent story in the pages of a stonemason's journal. 'You won't see the best of a Macallum until you put something in their fist,' says Letford, introducing the family. 'Joiner, nurse, stonemason, hairdresser, plumber, gardener. Lorna even repairs vintage watches. That's the quantum mecha...
The Last Highlander: Scotland’s Most Notorious Clan Chief, Rebel & Double Agent
THE NEW YORK TIMES BESTSELLER PERFECT FOR FANS OF OUTLANDER The true story of one of Scotland’s most notorious and romantic heroes.
#UntitledThree
A follow up to the immensely popular #UntitledOne and #UntitledTwo. This year's anthology gives us more of the promising and established names in British poetry who have all shared the Neu! Reekie! bill. Many of the works are new, many are favourites read at the events; all are savoured, sublime, sumptuous voices within poetry already.
A Bird Is Not a Stone
"A major collection of contemporary Palestinian poetry translated by 24 of Scotland's very best writers including Alasdair Gray, Liz Lochhead, James Robertson, Jackie Kay, William Letford, Aonghas MacNeacail, DM Black, Tom Pow, Ron Butlin and John Glenday. A Bird is not a Stone is a unique cultural exchange, giving both English and Arabic readers a unique insight into the political, social and emotional landscape of today's Palestine. Includes both established and emerging Palestinian poets. Foreword by Scotland's Mackar (Poet Laureate) Liz Lochhead"--Publisher's description.
This is Yarrow
The poems in Tara Bergin's accomplished debut collection combine sensuous, supple lyricism with the unsettling familiarity of folklore, fairytale and dream. They are inhabited by characters who seem at first widely different from one another, yet share nervous energy, a troubled state of mind: 'I am unwell, little crow, / I am unwell and far from home / where longing lives in my house'. In This is Yarrow Bergin gathers language from a wide range of sources and places to create a music and vision entirely her own.
Rhapsodies 1831
'Borel was the sun,' said Théophile Gautier, 'who could resist him?' Indeed, who? A lycanthrope, necrophile, absurd revolutionary, Paris dandy with a scented beard, flamboyant sufferer: a man with no grave and no memorial. His once celebrated red mouth opened briefly 'like an exotic flower' to complain of injustice and bourgeois vulgarity; of his frustration in love and reputation; of poverty and blighted fate. Then he withered in the minor officialdom of Algeria, where he died because he would not wear a hat, leaving a haunted house and a doubtful name. 'And now,' says his only biographer Dame Enid Starkie, 'he is quite forgotten.' Rhapsodies 1831 includes all the poems Borel wrote when he...
Winning Words
Faster, higher, stronger: winning words are those that inspire you on to Olympian goals. From falling in love to overcoming adversity, celebrating a new born or learning to live with dignity: here is a book to inspire and to thrill through life's most magical moments. From William Shakespeare to Carol Ann Duffy, our most popular and best loved poets and poems are gathered in one essential collection, alongside many lesser known treasures that are waiting to be discovered. These are poems that help you to see the miraculous in the commonplace and turn the everyday into the exceptional - to discover, in Kipling's words, that yours is the Earth and everything that's in it.
Locust and Marlin
Locust and Marlin considers how, in lives bright and brief as a candle's burn, we tell our stories and locate the places where we live and love. Where is the origin, our point in space from which we view the world? How much control do we have over who we are and what impact we have on the territory we inhabit? In a world whose boundaries and pathways are increasingly difficult to define, how do we find our way home? Locust and Marlin is JL WIlliams' second collection of poems.
