{"title":"Moniza Alvi","description":"Moniza Alvi was born in Pakistan and grew up in Hertfordshire. After working for many years as a secondary school teacher, she is now a freelance writer and tutor, and lives in London. Her latest books are \u003cem\u003eEuropa\u003c\/em\u003e (2008) and \u003cem\u003eSplit World: Poems 1990-2005\u003c\/em\u003e (2008), which includes poems from her five previous collections, \u003cem\u003eThe Country at My Shoulder\u003c\/em\u003e (1993), \u003cem\u003eA Bowl of Warm Air\u003c\/em\u003e (1996), \u003cem\u003eCarrying My Wife\u003c\/em\u003e (2000), \u003cem\u003eSouls\u003c\/em\u003e (2002) and \u003cem\u003eHow the Stone Found Its Voice\u003c\/em\u003e (2005). \u003cem\u003eThe Country at My Shoulder\u003c\/em\u003e was shortlisted for the T.S. Eliot and Whitbread poetry prizes, and \u003cem\u003eCarrying My Wife\u003c\/em\u003e was a Poetry Book Society Recommendation. \u003cem\u003eEuropa\u003c\/em\u003e was shortlisted for the T.S. Eliot Prize 2008. Moniza Alvi received a Cholmondeley Award in 2002.\n","products":[{"product_id":"modern-poetry-in-translation-series-3-no8-getting-it-across","title":"Modern Poetry in Translation (Series 3 No.8) Getting it Across","description":"\u003ci\u003eGetting it Across\u003c\/i\u003e has to do with translation in a very fundamental sense: getting yourself across.  It features translations, original poems, essays and anecdotes that treat the many ways in which people communicate with one another.  \u003cbr\u003e\u003cbr\u003e\u003ca name=\"contents\"\u003e\u003c\/a\u003eCover by Lucy Wilkinson.  Editorial by David and Helen Constantine.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eContents:\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e•\tBernardo Atxaga, two poems, translated by Margaret Jull Costa\u003cbr\u003e•\tGabriela Mistral, ‘The Foreigner’, translated by Arthur McHugh\u003cbr\u003e•\t\u003ca href=\"#e0\"\u003eNiyati Keni, Poetry in Four Dimensions\u003c\/a\u003e\u003cbr\u003e•\tHelen and David Constantine, A Language without Words\u003cbr\u003e•\tAlyss Dye, ‘Word Blindness’\u003cbr\u003e•\tMoniza Alvi, ‘Writing at the Centre’\u003cbr\u003e•\tSaradha Soobrayen, One Foot in England and one Foot in Mauritius\u003cbr\u003e•\t\u003ca href=\"#e1\"\u003eOliver Reynolds, ‘Slip’\u003c\/a\u003e\u003cbr\u003e•\tPascale Petit, ‘I was born in the Larzac’\u003cbr\u003e•\tAnnemarie Austin, ‘Dysphasias’\u003cbr\u003e•\t\u003ca href=\"#e2\"\u003eGregory Warren Wilson, three poems\u003c\/a\u003e\u003cbr\u003e•\tPedro Serrano, four poems from ‘Still Life’, translated by Anna Crowe\u003cbr\u003e•\tStephanie Norgate, two haiku versions of Lucretius\u003cbr\u003e•\t\u003ca href=\"#e3\"\u003eRobin Fulton, four poems\u003c\/a\u003e\u003cbr\u003e•\tMartha Kapos, two poems\u003cbr\u003e•\tCarole Satyamurti, three poems\u003cbr\u003e•\tHarry Martinson, five poems, translated by Robin Fulton\u003cbr\u003e\u003cbr\u003e•\tJenny Joseph, An essay and five poems, after paintings by Jaume Prohens\u003cbr\u003e•\tMartti Hynynen, five poems, translated by Mike Horwood\u003cbr\u003e•\tLucy Hamilton, extracts from a sonnet version of Lalla Maghnia\u003cbr\u003e•\tTsvetanka Elenkova, six poems, translated by Jonathan Dunne\u003cbr\u003e•\tTugrul Tanyol, four poems, translated by Ruth Christie\u003cbr\u003e•\t\u003ca href=\"#e4\"\u003eJane Draycott, a translation of the first two sections of Pearl\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e•\tNaomi Jaffa, The Aldeburgh Poetry Festival\u003cbr\u003e\u003cem\u003ePoetry from Aldeburgh\u003c\/em\u003e\u003cbr\u003e•               Taha Muhammad Ali, three poems, translated by Peter Cole, Yahya Hijazi and Gabriel Levin\u003cbr\u003e\u003cbr\u003e•\tMichael Hamburger, four poems\u003cbr\u003e•\tRobert Walser, twelve poems, translated by Michael Hamburger\u003cbr\u003e•\tTwo Memorial Notes on Michael Hamburger\u003cbr\u003e•\tBy Anthony Rudolf\u003cbr\u003e•\tBy Iain Galbraith\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e\u003cbr\u003e•\tCharlie Louth on Don Paterson, Martyn Crucefix and Rilke\u003cbr\u003e•\tBelinda Cooke on The Translator as Writer (edited Susan Bassnett and Peter Bush)\u003cbr\u003e•\tJo Balmer, Shorter Reviews\u003cbr\u003e\u003cbr\u003e\u003chr size=\"1\"\u003e\u003ca name=\"e0\" title=\"e0\"\u003e\u003c\/a\u003e\u003cstrong\u003eNiyati Keni\u003cbr\u003ePoetry in Four dimensions\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e\u003cem\u003eIntroduction\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003eIn the UK, the first records of deaf people using manual signs to communicate date back to the sixteenth century. However, as signers were often geographically scattered, it wasn’t until the nineteenth century, when residential missions for the deaf brought them together in significant numbers, that a national Sign Language began to emerge. In 1880, an international conference of teachers of deaf children met in Milan and voted to ban the teaching of Sign throughout most of Europe as they believed it to be detrimental to the acquisition of spoken and written language in deaf children. The ‘oral’ method of teaching all children, deaf and hearing, remained the standard for almost a century until the late 1970s when it was finally acknowledged that this method was failing large numbers of deaf children who were leaving school with low levels of literacy. \u003cbr\u003eIn the latter half of the twentieth century extensive linguistic analysis was conducted on Sign Language (largely with American Sign Language), heralding a change in perception of Sign from a simple gestural code to a rich and expressive language. This, coupled with the general movement for ‘disability’ rights, has led to a shift in consciousness within both deaf and hearing society which has had two important results. Firstly, in the UK, British Sign Language (BSL) was finally recognised as an official national language in March 2003. Secondly, there has been an explosive evolution in Sign arts since the 1960s – notably in areas that have traditionally been considered ‘text based’, such as theatre and poetry.  \u003cbr\u003e\u003cbr\u003eIn order to understand the impact of Sign on such media, it is necessary to examine the characteristics of the language more closely. \u003cbr\u003eSign languages are unique, in that they are visuo-spatial rather than verbal\/auditory.  In the UK, Sign is often thought of as simple, pictorial language that is a transliteration of spoken English. In fact Sign is an evolved language not a devised one, with its own very different syntax and grammar. It shows regional variation in the same way that spoken languages do and is rich in visual metaphor, (e.g. ‘ravenously hungry’ is signed as little fish swimming in the belly).\u003cbr\u003eBSL has a much smaller lexicon than spoken English but achieves greater expressivity by modifying individual signs. Though the basis of a given sign is the handshape, the meaning can be altered by the speed, style, location, direction and repetition of the movement as well as by non-manual aspects such as eye gaze, facial expression, mouth shape etc. This mimetic quality of Sign is easily demonstrated. For example, the same verb can be performed lazily, angrily, jauntily, so that a person can amble, stalk or strut where the basic sign is ‘walk’. Nouns can be similarly modified –  ‘tree’ is formed by one forearm standing upright, resting on top of and perpendicular to the other forearm, where the fingers are the tree branches. When the upright forearm sways or the fingers wriggle, the tree is depicted in stormy weather. \u003cbr\u003e\u003cbr\u003e\u003chr size=\"1\"\u003e\u003ca name=\"e1\" title=\"e1\"\u003e\u003c\/a\u003e\u003cstrong\u003eOliver Reynolds\u003c\/strong\u003e\u003cbr\u003e\t\t\t       \u003cbr\u003e                                  \u003cem\u003eSlip\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003eIn writing the word Fräulein\u003cbr\u003einstead of putting the umlaut\u003cbr\u003eabove the a\u003cbr\u003ehe had put it above the u\u003cbr\u003e\u003cbr\u003eThe more she looked\u003cbr\u003eat that double-stroke\u003cbr\u003eabove the open letter\u003cbr\u003ethe more Freudian it grew\u003cbr\u003e\u003cbr\u003e\u003chr size=\"1\"\u003e\u003ca name=\"e2\" title=\"e2\"\u003e\u003c\/a\u003e\u003cstrong\u003eGregory Warren Wilson\u003cbr\u003eThree Poems\u003c\/strong\u003e\u003cbr\u003e \u003cbr\u003e  \u003cem\u003eThe Opacity of Strangeness\u003c\/em\u003e\u003cbr\u003e \u003cbr\u003eAs soon as the April hailstorm ended\u003cbr\u003emy new Somali neighbour\u003cbr\u003ecrunched to the middle of his lawn\u003cbr\u003egathered up a handful of granules\u003cbr\u003eand took them back indoors\u003cbr\u003e. . . to pierce with a hot needle\u003cbr\u003eand thread on fuse wire like seed pearls.\u003cbr\u003e \u003cbr\u003eWe only ever meet in passing,\u003cbr\u003echoosing limes in the corner shop,\u003cbr\u003epicking over the star anise, deferential\u003cbr\u003eas students at an evening class\u003cbr\u003epractising idioms, turns of phrase\u003cbr\u003e. . . hailstones in the ice-cube tray,\u003cbr\u003ematching pairs like moonstone earrings.\u003cbr\u003e \u003cbr\u003eToday, clipping the privet hedge,\u003cbr\u003eI felt his gaze on the nape on my neck,\u003cbr\u003ethat subtle sense the hairline has\u003cbr\u003e. . . how would topiary translate?\u003cbr\u003ebut the moment I turned he dissolved\u003cbr\u003elike sugar into milk, like shadow into dusk.\u003cbr\u003eWhenever he smiles something escapes me. \u003cbr\u003e\u003cbr\u003e \u003chr size=\"1\"\u003e\u003ca name=\"e3\" title=\"e3\"\u003e\u003c\/a\u003e\u003cstrong\u003eRobin Fulton\u003cbr\u003eFour poems\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eWood Anemones\u003c\/em\u003e                \u003cbr\u003e \u003cbr\u003eDays lengthen, spaces between trees\u003cbr\u003eare wide, long before being filled in.\u003cbr\u003eAs if to tremble is to live\u003cbr\u003ewindflower petals tremble, half in\u003cbr\u003e \u003cbr\u003ehalf out of last year's grass tangles.\u003cbr\u003eYou'd think they'd arrived from far off\u003cbr\u003ebefore place has been made for them.\u003cbr\u003e \u003cbr\u003eThey are small voices, are so small\u003cbr\u003ethey know they have nothing to say,\u003cbr\u003eare wise enough not to say it.\u003cbr\u003e \u003cbr\u003eEach is too white to make much mark\u003cbr\u003eon the spreading landscape, too cool\u003cbr\u003eto give way as far as pastel.\u003cbr\u003e \u003cbr\u003eThat's the one place in the landscape\u003cbr\u003ewhere rhetoric is quite absent,\u003cbr\u003ewhere the landscape if it had things \u003cbr\u003eto say could find ways of saying them.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eWords like trout\u003c\/em\u003e                      \u003cbr\u003e \u003cbr\u003ein glassy pool, abruptly\u003cbr\u003enot-there as I stare at their backs.\u003cbr\u003eI don't own words but I lose them.\u003cbr\u003eWords don't own me but they lose me.\u003cbr\u003e \u003cbr\u003e‘Arbitrary’ is a migrant,\u003cbr\u003eerratic, follows no seasons,\u003cbr\u003emost of the time hides somewhere else.\u003cbr\u003e‘Nutmeg’ is wary and jealous.\u003cbr\u003eIf ‘Muskat’ comes near me, ‘nutmeg’\u003cbr\u003egets lost in the air for ages.\u003cbr\u003e \u003cbr\u003eThey have their habits, belong\u003cbr\u003e(wouldn't they say?) to the Fifth Day,\u003cbr\u003ewill inherit the earth when we\u003cbr\u003estep off, not one word in our mouths.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e","brand":"Modern Poetry in Translation","offers":[{"title":"Book","offer_id":1040750524,"sku":"9780954536787","price":9.95,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0441\/7369\/products\/2_2_e79db839-f4fd-4fd6-ac0a-96f556e05271.jpeg?v=1752237543"},{"product_id":"the-north-47-25-years-in-the-north","title":"The North 47: 25 Years in the North","description":"\"Stars in the north are seen not to set.\"\u003cbr\u003e\u003cbr\u003ePoems, articles, reviews and features - including 25 year poems and reflections on 25 years of poetry.\u003cbr\u003e\u003cbr\u003ePlus Poets I Go Back To, The Collection and Blind Criticism. \u003cbr\u003e","brand":"Smith\/Doorstop (The Poetry Business)","offers":[{"title":"Book","offer_id":1040766284,"sku":"22305-0269-9885","price":8.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0441\/7369\/products\/2_2_71c19a2f-369e-4395-8bcb-aadb933a4eed.jpeg?v=1752237112"},{"product_id":"womens-work-modern-women-poets-writing-in-english","title":"Women's Work: Modern Women Poets Writing in English","description":"Three years in the making, and with over 250 contributors, this generous selection of poetry by women with an emphasis on twentieth-century poetry in English features poets from the USA, Canada, England, Ireland, Scotland, Wales, Australia, and New Zealand.\u003cbr\u003e\u003cbr\u003eIn these 'Post-Feminist' times, is there a need for such a book? Is the literary establishment still as dominated by men as it once was? Who gets to decide the canon? Eva Salzman opens \u003ci\u003eWomen's Work\u003c\/i\u003e with a lively polemic, making the case for the women-only anthology with characteristic wit and flair. \u003cbr\u003e\u003cbr\u003eArranged by thematic chapters that touch on various aspects of modern life, this anthology aims to be a touchstone of women's thoughts and experiences; to be entertaining and relevant as well as inclusive and representative of some of the best poetry published now. A thorough section devoted to author biographical details and credits will be of use to scholars and the curious who desire to read more work by the poets included.\u003cbr\u003e\u003cbr\u003eThe Editors are the well-known poet Eva Salzman, and Poetry Editor Amy Wack, both Americans, graduates of Columbia writing programme in New York City, who have made the UK their home.\u003cbr\u003e\u003cbr\u003eYou will find familiar names as well as new discoveries amongst the contributors: Fleur Adcock, Patience Agbabi, Moniza Alvi, Margaret Atwood, Sujata Bhatt, Colette Bryce, Siobhan Campbell, Amy Clampitt, Polly Clark, Wendy Cope, Toi Derricotte, Carol Ann Duffy, Christine Evans, U.A. Fanthorpe, Ruth Fainlight, Vicki Feaver, Daisy Fried, Alice Fulton, Tess Gallagher, Louise Gluck, Marilyn Hacker, Joy Harjo, Selima Hill, Kathleen Jamie, June Jordan, Martha Kapos, Jenny Joseph, Jackie Kay, Mimi Khalvati, Alice Oswald, Phillis Levin, Denise Levertov, Gwyneth Lewis, Sandra McPherson, Marianne Moore, Sharon Olds, Ruth Padel, Pascale Petit, Katherine Pierpoint, Sylvia Plath, Adrienne Rich, Muriel Rukeyser, Carol Rumens, Olive Senior, Jo Shapcott, Stevie Smith, Gertrude Stein, Anne Stevenson, Chase Twichell, Judith Wright, Tamar Yoselfof, and many others. \u003cbr\u003e\u003cbr\u003e\u003cb\u003eAmy Wack\u003c\/b\u003e has edited a number of anthologies for Seren including \u003ci\u003eOxygen\u003c\/i\u003e and \u003ci\u003eBurning the Bracken\u003c\/i\u003e, and was for many years Reviews Editor at \u003ci\u003ePoetry Wales\u003c\/i\u003e magazine. \u003cbr\u003e\u003cbr\u003e\u003cb\u003eEva Salzman\u003c\/b\u003e is the author of two individual collections, \u003ci\u003eThe English Earthquake\u003c\/i\u003e and \u003ci\u003eBargain with the Watchman\u003c\/i\u003e and her \u003ci\u003eDouble Crossing: New and Selected Poems\u003c\/i\u003e has recently appeared.","brand":"Seren","offers":[{"title":"Book","offer_id":1041147716,"sku":"9781854114310","price":14.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0441\/7369\/products\/2_2_f7051130-87fe-49c1-9844-c68b7a21dd92.jpeg?v=1752238145"}],"url":"https:\/\/inpressbooks.co.uk\/collections\/moniza-alvi\/david-tait.oembed","provider":"Inpress Books","version":"1.0","type":"link"}