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Selected Poems
This selection of the best poems from six remarkable collections reveals that all the strength and sensuality and strangeness is in there from the start. This is a metaphysical poetry for our age: rooted, steeped in the physical, but stretching for lyric completion, philosophical clarity, emotional truth. These poems achieve their seriousness not through hectoring argument but through their lightness of touch, their wit, their tenderness, their music. Roberts has always been a poet who, in the words of Lavinia Greenlaw, ‘inspires profound meditation on the nature of the soul, the body, the stars and the heart, and sparks revelation’. He is also formally and thematically diverse, restlessly exploring a wide range of subjects from Cold-War fear to love lyrics, genetics to elegies, always returning to the crucial, elemental themes – the mapping of experience and the search for meaning. After Drysalter, his double-prize-winning tour de force, we now have this opportunity to observe the whole arc to date: the consistency of grace and power, curiosity and risk, passion and intelligence that – together – make Michael Symmons Roberts such a thrilling and essential poet.
Ransom
**SHORTLISTED FOR THE T.S. ELIOT PRIZE 2021** *A FINANCIAL TIMES 'BOOKS OF 2021' PICK* Ransom, the new collection from Michael Symmons Roberts, is an intense and vivid exploration of liberty and limit, of what it means to be alive, and searches for the possibility of hope in a fallen, wounded world. The poems in Ransom display all the lyrical beauty and metaphysical ambition for which his work is acclaimed, but with a new urgency, a ragged edge to what the Independent described as his 'dazzling elegance'. At the heart of this new book are three powerful sequences - one set in occupied Paris, one an elegy for his father, and one a meditation on gratitude - that work at the edges of belief and doubt, both mystical and philosophical. The idea of 'ransom' is turned and turned again, poem by poem, seen through the lenses of personal grief and loss, cinematic scenes of kidnap and release, narratives of incarnation and atonement. This is a profound and timely book from one of our finest poets.
Deaths of the Poets
From Dylan Thomas’s eighteen straight whiskies to Sylvia Plath’s desperate suicide in the gas oven of her Primrose Hill kitchen; from Chatterton’s Pre-Raphaelite demise to Keats’ death warrant in a smudge of arterial blood, the deaths of poets have often cast a backward shadow on their work. The post-Romantic lore of the dissolute drunken poet has fatally skewed the image of poets in our culture. Novelists can be stable, savvy, politically adept and in control, but poets should be melancholic, doomed and self-destructive. Is this just an illusion , or is there some essential truth behind it? What is the price of poetry? In this book, two contemporary poets embark on a series of journeys to the death places of poets of the past, in part as pilgrims, but also as investigators, interrogating the myth.
The Half Healed
The poems in Michael Symmons Roberts's fifth collection move in a world riven by violence and betrayal, between nations and individuals. As ever, this is a metaphysical poetry rooted in physical detail - but the bodies here are displaced, disguised, in need of rescue. A man in a fox suit prowls the woods afraid of meeting true foxes, while a vixen dressed as a man moves among the powerful at society soirées. God no longer 'walks in his garden in the cool of the day', but drives through a damaged city in the small hours. At the same time a couple celebrate armistice with an act of love in an anonymous hotel room. As the judges of the Whitbread Prize noted, Roberts' poetry 'inspires profound meditation on the nature of the soul, the body, the stars and the heart - and sparks revelation.' Roberts is a poet of unusual range and dexterity, fascinated by faith and science, by the physical and the transcendental, and with this new book he confirms his position as a truly original, and thrillingly gifted, lyric poet.
Mancunia
Shortlisted for the 2017 T. S. Eliot Prize Longlisted for the 2019 Portico Prize PBS Autumn Recommendation Mancunia is both a real and an unreal city. In part, it is rooted in Manchester, but it is an imagined city too, a fallen utopia viewed from formal tracks, as from the train in the background of De Chirico’s paintings. In these poems we encounter a Victorian diorama, a bar where a merchant mariner has a story he must tell, a chimeric creature – Miss Molasses – emerging from the old docks. There are poems in honour of Mancunia’s bureaucrats: the Master of the Lighting of Small Objects, the Superintendent of Public Spectacles, the Co-ordinator of Misreadings. Metaphysical and lyrical, the poems in Michael Symmons Roberts’ seventh collection are concerned with why and how we ascribe value, where it resides and how it survives. Mancunia is – like More’s Utopia – both a no-place and an attempt at the good-place. It is occupied, liberated, abandoned and rebuilt. Capacious, disturbing and shape-shifting, these are poems for our changing times.
Edgelands
The wilderness is much closer than you think. Passed through, negotiated, unnamed, unacknowledged: the edgelands - those familiar yet ignored spaces which are neither city nor countryside - have become the great wild places on our doorsteps. In the same way the Romantic writers taught us to look at hills, lakes and rivers, poets Paul Farley and Michael Symmons Roberts write about mobile masts and gravel pits, business parks and landfill sites, taking the reader on a journey to marvel at these richly mysterious, forgotten regions in our midst. Edgelands forms a critique of what we value as 'wild', and allows our allotments, railways, motorways, wasteland and water a presence in the world, and a strange beauty all of their own.
Corpus
Corpus - Michael Symmons Roberts' Whitbread-Prize winning fourth collection - centres around the body. Mystical, philosophical and erotic, the bodies in these poems move between different worlds - life and after-life, death and resurrection - encountering pathologists' blades, geneticists' maps and the wounds of love and war. Equally at ease with scripture (Jacob wrestling the Angel in 'Choreography') and science ('Mapping the Genome'), these poems are a thrilling blend of modern and ancient wisdom, a profound and lyrical exploration of the mysteries of the body:' So the martyrs took the lamb./ It tasted rich, steeped in essence/ Of anchovy. They picked it clean/ And found within, a goose, its pink/ Beak in the lamb's mouth like a tongue.' Ranging effortlessly between the physical extremes of death - from putrefaction to purification - and life - drought and flood, hunger and satiation - the poems in Corpus speak most movingly of 'living the half-life between two elements', of what it is to be unique and luminously alive.
Drysalter
Winner of the 2013 Forward Poetry Prize for Best Collection Shortlisted for the 2013 T. S. Eliot Poetry Prize Shortlisted for the 2013 Costa Poetry Award Shortlisted for the 2015 Portico Prize In an innovative digital first for Cape poetry, hear Michael Symmons Roberts read the entirity of his prize-winning collection, Drysalter and introduce the ideas behind the poetry. Michael Symmons Roberts’ sixth – and most ambitious collection to date – takes its name from the ancient trade in powders, chemicals, salts and dyes, paints and cures. These poems offer a similarly potent and sensory multiplicity, unified through the formal constraint of 150 poems of 15 lines. Like the medieval psalter...
Burning Babylon
In his first two collections - Soft Keys and Raising Sparks - Michael Symmons Roberts established himself as a lyric and dramatic poet with metaphysical concerns. In this new collection, those concerns are as strong as ever, but rooted in a specific place and time. These poems describe the personal and public rise and fall of Greenham Common. The public story, as one of the most contentious missile bases of the cold war, ended with fences removed, buildings demolished, the base returned to common land. The private history emerges from the poet's own experience, as an adolescent living a mile away from Greenham Common at the height of its powers. That third community of locals - not the USAF ...
Patrick's Alphabet
When a teenage couple are found murdered in their car, a boy called Adam Sligo is the only suspect. The letter A is found blazoned on the wall at the murder scene and is soon followed, around town, by the other letters of the alphabet, each immaculately painted in red. What do the letters mean? Is Sligo playing games with the police? Or putting a spell on the town? Perry Scholes is mixed up in all this from the start: a man haunted by cars and death - and photographic images of both. He trawls the motorways and edgelands listening to police radio, getting to the car-crash or the crime scene before them. He makes a living selling these shots to the papers. He is the one who spots the painted letters, and begins to document their appearances. As the town is paralysed by fear and paranoia, a vigilante cult emerges, arming itself for the battle against evil. Perry finds himself trapped in a nightmare. A killer is at large, and the alphabetical messages he leaves seem to be personal messages for him.
