The Gododdin

The first English translation by a poet of one of Britain's oldest cultural treasures, which captures its compelling 'word-music'\nThe Gododdin charts the rise and fall of 363 warriors in the battle of Catraeth, around the year 600AD. The men of the Brittonic kingdom of Gododdin rose to unite the Welsh and the Picts against the English, only to meet a devastating fate. Composed by the poet Aneirin, the poem was originally orally transmitted as a sung elegy, passed down for seven centuries before being written down by two medieval scribes. It is comprised of one hundred laments to the named characters who fell, and follows a sophisticated alliterative poetics. Former National Poet of Wales Gillian Clarke is the first poet to create a translation. She animates this historical epic with a modern musicality, making it live in the language of today.

Literature & Fiction

CLARKE, Gillian

Poetry

Faber&Faber

The timeless and compelling 'word-music' of one of Britain's oldest cultural treasures is captured in this new bilingual edition.\nThe Gododdin charts the rise and fall of 363 warriors in the battle of Catraeth, around the year AD 600. The men of the Brittonic kingdom of Gododdin rose to unite the Welsh and the Picts against the Angles, only to meet a devastating fate. Composed by the poet Aneirin, the poem was originally orally transmitted as a sung elegy, passed down for seven centuries before being written down in early Welsh by two medieval scribes. It is composed of one hundred laments to the named characters who fell, and follows a sophisticated alliterative poetics. Former National Poet of Wales Gillian Clarke animates this historical epic with a modern musicality, making it live in the language of today and underscoring that, in a world still beset by the misery of war, Aneirin's lamentation is not done.

The Gododdin: Lament for the Fallen

FOR USE IN SCHOOLS AND LIBRARIES ONLY. A collection of poems about the supernatural, by such authors as Tennyson, Robert Frost, and Jack Prelutsky.

The Kingfisher Book Of Scary Poems (Turtleback School & Library Binding Edition)

Children's Books

Turtleback Books

A bewitching book of scary poems to haunt the imagination Filled with mystery and wonder, this collection of scary poems by poets such as Walter de la Mare, Emily Dickinson, and Ted Hughes, is sure to make readers shiver. Ranging from traditional rhymes to new works by contemporary poets, this anthology is populated with ghosts and skeletons, witches and wizards. Justin Todd's eerie and atmospheric illustrations heighten the spookiness and drama of the verse. Warning: this volume has an extremely high skin prickle factor!

The Kingfisher book of scary poems

Kingfisher Books

More than fifty poems about ghosts, goblins, spirits, and bogeymen--by such poets such as Carl Sandburg, Ted Hughes, Emily Bronte+a5, Alfred Tennyson, William Shakespeare and Walter de la Mare--populate a poetry collection for children.

The Whispering Room: Haunted Poems

Kingfisher

In the desolate depths of a perilous placethe bogeyman lurks, with a snarl on his face.Never dare, never dare to approach his dark lairfor he's waiting . . . just waiting . . . to get you. —Jack Prelutsky, excerpt from The BogeymanOffering a mix of contemporary and classic verse as well as traditional rhymes, the poets featured in this anthology include Carl Sandburg, Ted Hughes, Emily Brontë, Alfred, Lord Tennyson, Stevie Smith, Walter de la Mare, and William Shakespeare. Ghosts, goblins, witches, bats, bogeymen, mysterious night noises, sprites, spirits, and more—they're all here in this anthology of terrifically terrifying poems. Wonderfully weird and eerie illustrations add to the haunted mood.

The Kingfisher Book of Scary Poems

Todd, Justin

"Selected Poems", originally in Carcanet's "Signatures" series, has proven to be one of the most popular volumes of modern Welsh poetry, having gone through six printings in ten years. Gillian Clarke combines traditional skills with a highly individual voice. Hers is a unique perspective on Welsh history and on the role of women within a rich, and at times volatile, culture. "Her language has a quality both casual and intense, mundane and visionary", the "Listener" said of "Letter From a Far Country" (Carcanet 1982). "There is no gaudiness in her poetry; instead, the reader is aware of a generosity of spirit which allows the poems' subjects their own unbullied reality".

Gillian Clarke: Selected Poems (Poetry Signatures)

Carcanet Press Ltd.

Zoology is Gillian Clarke’s ninth Carcanet collection, following her T. S. Eliot Prize-shortlisted Ice. The collection opens with a glimpse of hare, whose "heartbeat halts at the edge of the lawn", holding us "in the planet of its stare". Within this millisecond of mutual arrest, a well of memories draws us into the Welsh landscape of the poet’s childhood: her parents, the threat of war, the richness of nature as experienced by a child. In the second of the collection’s six parts we find ourselves in the Zoology Museum, whose specimens stare back from their cases: the Snowdon rainbow beetle, the marsh fritillary, the golden lion tamarin. "Will we be this beautiful when we pass into the silence, behind glass?" In later sections the poet invites us to Hafod Y Llan, the Snowdonian nature reserve rich in Alpine flowers and abandoned mineshafts, "where darkness laps at the brink of a void deep as cathedrals". Clarke captures a complete cycle of seasons on the land, its bounty and hardship, from the spring lamb "birthed like a fish / steaming in moonlight" to the ewe bearing her baby "in the funeral boat of her body". The poems tap into a powerful, feminist empathy that sees beyond differentiations of species to an understanding deeper than knowledge, something subterranean, running through the land. Zoology closes with a series of elegies to friends, poets and peers, and poems remembering victims of war and tyrannical regimes. "Like a bird picking over / the September lawn, / I gather their leaves. / This is what silence is." Then our hare, that ‘flight of sinew and gold", is spotted one last time: "a silvering wind crossing a field, / two ears alert in a gap / then gone".

Zoology

<div>Wales's best-loved contemporary poet, one of our major poets of our endangered environment, returns to prose in Roots Home. As in At the Source (2008), she does something unusual with form. She combines two elements. Seven vivid essay-meditations, informed by (among others) Dylan Thomas, George Herbert and W.B. Yeats, explore the ways in which poetry bears witness to what is and what might be, presence and transcendence in a threatened world. The meditations precede a journal that runs from January 2018 to December 2020, concluding with a poem entitled 'Winter Solstice' - three years of living close to animals, mountains, and (in particular) trees, in human intimacy and lockdown. The flown, the fallen, the golden ones, the deciduous dead, all gone to ground, to dust, to sand, borne on the shoulders of the wind. Listen! They are whispering now while the world talks, and the ice melts, and the seas rise. Look at the trees! Every leaf-scar is a bud expecting a future. The earth speaks in parables. The burning bush. The rainbow. Promises. Promises. This is necessary work. As she declares in 'Why I Write', the first meditation in Roots Home: 'Morning begins with my journal. I write in it most days, though not every day. It is friend and listener, to record, remember, rage and rhapsodise, a place for requiem and celebration. Words hold detail which might be forgotten - the way the hare halted as it crossed the lawn, the field where a rainbow touched down across the valley, the different voices of wind, or water, the close and distant territorial arias of May blackbirds.'</div>

Roots Home

Essays & Correspondence

Lives and Letters

A Poetry Book Society Spring Recommendation 2024.' The days have no names.The day they count the dead,the day they closed the doors,turned off the lights.We' re still here in the silence,hearing tree-talk,the wind' s secrets,the company of birds.' (' The Year of the Dead' )The poems in Gillian Clarke's The Silence begin during lockdown, to whose silences Clarke listens so attentively that other voices emerge. As the book progresses, that silence deepens, in the poems about her mother and childhood, about the Great War and its aftermaths, and in her continuing attention to Welsh places and names, and the rituals which make that world come in to focus. In these scrupulous, musical poems, Clarke finds consolation in how silence makes room for memory and for the company of the animal- and bird-life which surrounds us. These poems, compulsively returning to key images and formative moments, echo and bring back other ways of living to the book's present moment.

The Silence (Carcanet Poetry)

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Books by CLARKE, Gillian