Men Who Feed Pigeons

- Reviews -

Arguably the most distinctive truth teller to emerge in British poetry. . . Despite her thematic preoccupations, there' s nothing conscientious or worthy about Hill' s work. She is a flamboyant, exuberant writer who seems effortlessly to juggle her outrageous symbolic lexicon. . . using techniques of juxtaposition, interruption and symbolism to articulate narratives of the unconscious. Those narratives are the matter of universal, and universally recognisable, psychodrama. . . hers is a poetry of piercing emotional apprehension, lightly worn. . . So original that it has sometimes scared off critical scrutineers, her work must now, surely, be acknowledged as being of central importance in British poetry - not only for the courage of its subject matter but also for the lucid compression of its poetics. -- Fiona Sampson * Guardian * Selima Hill' s Jutland has an astounding vivacity. Hill is a complete original whose body of work is unique in British poetry and this volume is an example of her at her best. Jutland consists of two extended sequences: Advice on Wearing Animal Prints, a kaleidoscope of shifting perspectives presenting the character Agatha, and Sunday Afternoons at the Gravel-pits, portraying a little girl and her father. Each poem tells an uncomfortable truth, through fireworks of surreal images. Every image is a surprise, sometimes funny, usually shocking, but at the same time archetypal as a brand new fairy-tale, and all this is achieved with crystalline brevity. -- Pascale Petit * chair of the 2015 T. S. Eliot Prize judges * Her adoption of surrealist techniques of shock, bizarre, juxtaposition and defamiliarisation work to subvert conventional notions of self and the feminine. . . Hill returns repeatedly to fragmented narratives, charting extreme experience with a dazzling excess, -- Deryn Rees-Jones * Modern Women Poets *

- Author Bio -

Selima Hill grew up in a family of painters in farms in England and Wales, and has lived in Dorset for the past 35 years. She received a Cholmondeley Award in 1986, and was a Royal Literary Fund Fellow at Exeter University in 2003-06. She won first prize in the Arvon International Poetry Competition with part of The Accumulation of Small Acts of Kindness (1989), one of several extended sequences in Gloria: Selected Poems (Bloodaxe Books, 2008), which also includes work from Saying Hello at the Station (1984), My Darling Camel (1988), A Little Book of Meat (1993), Aeroplanes of the World (1994), Violet (1997), Bunny (2001), Portrait of My Lover as a Horse (2002), Lou-Lou (2004) and Red Roses (2006). Violet was a Poetry Book Society Choice and was shortlisted for all three of the UK' s major poetry prizes, the Forward Prize, T. S. Eliot Prize and Whitbread Poetry Award. Bunny won the Whitbread Poetry Award, was a Poetry Book Society Choice and was also shortlisted for the T. S. Eliot Prize. Lou-Lou and The Hat were Poetry Book Society Recommendations. Her most recent collections from Bloodaxe are The Hat (2008); Fruitcake (2009); People Who Like Meatballs (2012), shortlisted for both the Forward Poetry Prize and the Costa Poetry Award; The Sparkling Jewel of Naturism (2014); Jutland (2015), a Poetry Book Society Special Commendation which was shortlisted for the 2015 T. S. Eliot Prize and was earlier shortlisted for the Roehampton Poetry Prize; The Magnitude of My Sublime Existence (2016), shortlisted for the Roehampton Poetry Prize 2017; Splash like Jesus (2017); and I May Be Stupid But I' m Not That Stupid (2019). Her 20th collection, Men Who Feed Pigeons (2021) is shortlisted for the Forward Prize for Best Collection.

- Full Details -

Status:	Active
ISBN-13:	9781780375861
Published:	16 Sep 2021
Published In:	United Kingdom
Imprint:	Bloodaxe Books
Publisher:	Bloodaxe Books
Format:	Paperback
Height:	216mm
Width:	138mm
Pages:	160

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