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Tell Me No More and Tell Me
Tell Me No More and Tell Me, first published in 1981 focuses upon the poet's immediate surroundings, the Essex marshes and the small black timber framed cottage he lived in at the time. Looking back, after such passing of time, and the changes that naturally ensue, these poems capture the exactitude of the poet's daily life and contemplations. They remain indelible of that formative period. Ralph Hawkins' poetry is yeasty and written where the meanings are made rather than assigned. Its impulse is towards the immediate, apparently unsynthesised event where thinking occurs moment by moment. The aesthetic bears some resemblance to close mic techniques, we are drawn near to the experience and a...
It Looks Like an Island But Sails Away
"Ralph Hawkins' poems... minimise the gap of 'constructive effort' between the basic seeking of pleasure and pleasurable sensations, and the 'mediated' pleasure of the poem. [...] He does not bother with stage-setting. Each poem launches us into a series of 'direct experiences' from whose course we could work out the shape of the self experiencing them. Hawkins is not asking how experience happens, but by describing the course of a self he answers the question anyway. The course is one of attention, constantly switching on and off, jumping between planes; Hawkins' method is to eliminate whatever is not interesting, and his poetic line is as rapid, sporadic, shifting, polyvalent, slight and self-reversing as consciousness itself. [...] The removal of conventional connections leaves a vast space for originality: his style is located in the edits, the jumps." -Andrew Duncan
The Moon, the Chief Hairdresser (highlights)
This is Ralph Hawkins' first full-length collection in some years and brings one of the most original voices of his generation back before the poetry public. Besides the title collection, this volume contains the 'Pushkin' poems, and two further new sequences, 'Uruk' and 'The Littoral Zone'.
Gone to Marzipan
"Ralph Hawkins' poems... minimize the gap of 'constructive effort' between the basic seeking of pleasure and pleasurable sensations, and the 'mediated' pleasure of the poem. [...] He does not bother with stage-setting. Each poem launches us into a series of 'direct experiences' from whose course we could work out the shape of the self experiencing them. We could either take the individual events and fit them into our own self-experience, or we could take each book as constructing a new 'shell self', a role we can both play for a while. Hawkins is not asking how experience happens, but by describing the course of a self he answers the question anyway. The course is one of attention, constantl...
At Last Away
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How Israel Became a People
How did Israel become a people? Is the biblical story accurate? In what sense, if any, is the biblical story true? Are the origins of these ancient people lost in myth or is there hope to discovering who they were and how they lived? These questions divide students and scholars alike. While many believe the "Conquest" is only a fable, this book will present a different view. Using biblical materials and the new archaeological data, this title tells how the ancient Israelites settled in Canaan and became the people of Israel. The stakes for understanding the history of ancient Israel are high. The Old Testament tells us that Yahweh led the Hebrews into the land of Canaan and commanded them to drive its indigenous inhabitants out and settle in their place. This account has often served as justification for the possession of the land by the modern state of Israel. Archaeology is a "weapon" in the debate, used by both Israelis and Palestinians trying to write each other out of the historical narrative. This book provides needed background for the issues and will be of interest to those concerned with the complexity of Arab-Israeli relations.
The Word from the One
Limited ed. of 200 copies of which 10 are signed.
Flecks
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