Trees Before Abstinent Ground - Larkin, Peter
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Trees become myriad versions (instalments) of themselves without verging onto an unsensing multiplicity as they traverse partially resistant or patient terrains: so these poems explore contrasting tree-states, as sticks or joints, filters of directional light or self-submerged hedges, which are all manners of contraction, extension, mediation, shareable expression. "Larkin's 'theological poetics' assumes a world in which we could be said to be 'short of nothing', however 'scarcely' this is apprehended." -Simon Collings "With relation to the holy as subtext, Trees Before Abstinent Ground…mehr

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Produktbeschreibung
Trees become myriad versions (instalments) of themselves without verging onto an unsensing multiplicity as they traverse partially resistant or patient terrains: so these poems explore contrasting tree-states, as sticks or joints, filters of directional light or self-submerged hedges, which are all manners of contraction, extension, mediation, shareable expression. "Larkin's 'theological poetics' assumes a world in which we could be said to be 'short of nothing', however 'scarcely' this is apprehended." -Simon Collings "With relation to the holy as subtext, Trees Before Abstinent Ground continues Peter Larkin's dense and enticing meditations with trees. Larkin's poems lure the reader to attend to the incarnational alterity of trees. Through saturated language, the reader encounters trees' vertical customs and feral horizons, as they engage with the habit and culture of light." -Anne Elvey
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Autorenporträt
"I was born in the New Forest and spent my first 17 years only a few miles outside it, so that might account for something, both the proximity and the being outside. I decided I wanted to write about the age of 9, and aimed to write historical novels but wrote poems to while away the time until I was older. After Cambridge I did in fact write one long, semi-autobiographical novel (called In Place of Simon) which took me a number of years during the 70s but once having done it I realised it was mainly a poet's novel. It was never published though a few cyclostyled copies were produced, one of which has found its way into Cambridge University Library. My next novel didn't get beyond a series of 'interludes' within the narrative which I soon realised were more distinctive than any plot, and these became the germ of my first published poems, Enclosures, which came out in 1983. My writing has always operated between the margins of verse and prose, and this must reflect my early preoccupation with the novel, though concentrated sound and texture, internal half-rhyme or partial echo and word-permutation are basic to the fabric of what I write, however prosy in outline. My other concern has been with matters of landscape and ecology, often focusing on the predicament and analogical patterning of the woods and plantations which residually border our lives. Nearly all my working life has been spent as a librarian at Warwick University which has proved a wonderfully enabling scenario of attachments and detachments so far as my poetry goes. The prose character of much of my writing (though nearly always broken up into very short paragraphs, sometimes with verse tail-pieces) may also reflect my fascination with longer forms, with the possibility of exploring underlying phenomenological and theological 'arguments' in the mode of continuously noted variations and takes on 'outdoor' perception."