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Christopher Matthew: Nigel

Nigel

A visionary anthology that examines and reimagines the archive as a form of collective&nbsp;record-keeping, featuring work by Alexis Pauline Gumbs, Douglas Kearney, Brenda Shaughnessy, Mahogany L. Brown, and many new and emerging voices.Inspired by Naima Yael Tokunow’s research into the Black American record (and its purposeful scarceness), Permanent Record asks, what do we gain when we engage with our flawed cultural systems of remembrance? How does questioning and creating a deep relationship to the archive, and in some cases, spinning thread from air where there is none, allow us to prefigure the world that we want? Including reflections on identity and language, diasporic and first generation lived experiences, and responses to the ways the record upholds harm and provides incomplete understandings, Permanent Record hopes to reframe what gets to be a part of collective remembrance, exploring “possibilities for speculating beyond recorded multiplicity.”

A visionary anthology that examines and reimagines the archive as a form of collective&nbsp;record-keeping, featuring work by Alexis Pauline Gumbs, Douglas Kearney, Brenda Shaughnessy, Mahogany L. Brown, and many new and emerging voices.Inspired by Naima Yael Tokunow’s research into the Black American record (and its purposeful scarceness), Permanent Record asks, what do we gain when we engage with our flawed cultural systems of remembrance? How does questioning and creating a deep relationship to the archive, and in some cases, spinning thread from air where there is none, allow us to prefigure the world that we want? Including reflections on identity and language, diasporic and first generation lived experiences, and responses to the ways the record upholds harm and provides incomplete understandings, Permanent Record hopes to reframe what gets to be a part of collective remembrance, exploring “possibilities for speculating beyond recorded multiplicity.”

Permanent Record

Internationally renowned as one of the twentieth century's foremost public intellectuals, Hannah Arendt was also intensely private. Though she often acknowledged that the language of poetry-especially that of Dickinson, Goethe and Lowell-informed her work, only a few people knew that Arendt herself wrote poems.
In fact, between 1923 and 1961, Arendt wrote seventy-four poems, many of them signposts in an otherwise unwritten autobiography. For nearly forty years after her death, these poems remained hidden among the archives of the Library of Congress, until 2011, when they were rediscovered by scholar and translator Samantha Rose Hill. Now, for the first time in English, Hill and Genese Grill present Arendt's poems in chronological order, taking us from the zenith of the Weimar Republic to the Cold War, and from Marburg, Germany, to New York's Upper West Side.
Throughout, Arendt uses poetry to mark moments of joy, love, loss and reflection. In "W. B.," written in 1942, she remembers Walter Benjamin, who died near the French-Spanish border while attempting to flee the Nazis: "Gentle whispering melodies / Sound from the darkness. / We listen so we can let go." So, too, she reflects on mutability and transience in 1946: "I know that the houses have fallen. / We entered the world in them, wonderfully sure, that they / were more durable than ourselves." She tries to understand her place in the world: "Ironically foolish, / I've forgotten nothing, / I know the emptiness, / I know the burden, / I dance, I dance / In ironic splendor." A gift to all readers of Arendt, this stunning, dual-language edition provides an unparalleled view into the inner sanctum of one of our most original thinkers.

A landmark literary event,&nbsp;What Remains&nbsp;collects Arendt’s complete poetic oeuvre—never before published in English

The Collected Poems of Hannah Arendt

What Remains

Christmas Poem 2025

Poems on Loving, Longing, and Living

I Hope You Remember

So What

A love letter to Palestinian ancestors, their descendants, and their land, to all anti-colonial and anti-imperialist struggles, to a history that will never be forgotten, and to a future in which there thrives a free, free Palestine. 
Poetry has always served as a mode of resistance in Palestinian culture. In defiance of dispossession and decades of military siege, of a nakba that never ended, of historical and cultural obfuscation, of unrelenting violence and thousands of martyred people, the "power to narrate," as Edward Said wrote, remains a necessary tool for self-determination. The poems collected here reclaim that power, bridging borders, languages, and generations to forge new conversations around resistance and liberation. 
HEAVEN LOOKS LIKE US is a battle-cry against the annihilation of a people. As Palestinian history remains haunted by exile, violence, and grief, so, too, are the poems in this anthology. And yet, editors George Abraham and Noor Hindi present these realities alongside other themes that are also true: queer and feminist perspectives, eco-poetry, meditations on love and time, and lineages of protest. This anthology dares to imagine a future beyond a nation-state for Palestinian people everywhere. Contributors include Refaat Alareer, Mahmoud Darwish, Naomi Shihab Nye, Mohammed El-Kurd, A.D. Lauren-Abunassar, Lena Khalaf Tuffaha, Hala Alyan, Fady Joudah, and Heba Abu Nada, and many other voices, both established and ascending.

Palestinian Poetry

HEAVEN LOOKS LIKE US

A John Murray Original

No Obvious Distress

The long-anticipated third collection from the revered Richard Siken delivers his most personal and introspective collection yet.
Richard Siken’s long-anticipated third collection, I Do Know Some Things, navigates the ruptured landmarks of family trauma: a mother abandons her son, a husband chooses death over his wife. While excavating these losses, personal history unfolds. We witness Siken experience the death of a boyfriend and a stroke that is neglectfully misdiagnosed as a panic attack. Here, we grapple with a body forgetting itself—“the mind that / didn’t work, the leg that wouldn’t move…”. Meditations on language are woven throughout the collection. Nouns won’t connect and Siken must speak around a meaning: “dark-struck, slumber-felt, sleep-clogged.” To say “black tree” when one means “night.”Siken asks us to consider what a body can and cannot relearn. “Part insight, part anecdote,” he is meticulous and fearless in his explorations of the stories that build a self. Told in 77 prose poems, I Do Know Some Things teaches us about transformation. We learn to shoulder the dark, to find beauty in “The field [that] had been swept clean of habit.”

I Do Know Some Things

A preeminent voice in contemporary literature, Major Jackson offers steady miracles of vision and celebrations of language in rapturous, sophisticated poems. Razzle Dazzle traces the evolution of Jackson's transformative imagination and fierce music through five acclaimed volumes: his Cave Canem Poetry Prize-winning debut, Leaving Saturn (2002), which captures the spirit of resilience in the Philadelphia neighborhoods of the poet's youth; Hoops (2006), which finds transcendence in the solemn marvels of ordinary lives; Holding Company (2010), which shifts away from narrative to explore the seductive force of art, literature, and music; Roll Deep (2015), which addresses human intimacy, war, and the spirit of aesthetic travel; and his vulnerable, philosophical latest, The Absurd Man (2020). The volume opens with over three dozen new poems that erupt into full-throated song in the face of indignity and invite us into a passionate experience of the world.
Taken together, these two decades of writing offer a sustained portrait of a poet "bound up in the ecstatic," whose buoyant lyricism confronts the social and political forces that would demean humanity. Equally attuned to sensuous connection, metaphysical inquiries, the natural world, and ever-changing urban landscapes, Jackson possesses a sensibility at once global and personal, driven by an enduring conviction in the possibilities of art and language to mark our lives with meaning.
Whether addressing racial conflict and the ongoing struggle for human dignity in America, bearing witness to the plight of refugees, or grieving the contradictory nature of humankind, these dexterous poems proclaim the remarkable power of renewal, justice, and accountability.

New and Selected Poems 2002-2022

Razzle Dazzle

Nineteenth-Century British and American Literary Cultures of Nature

Landscapes of Genius and the Transatlantic Origins of Environmentalism

'Gayl Jones's work represents a watershed in American literature . . . her truth-telling, filled with beauty, tragedy, humour and incisiveness, is unmatched' Imani Perry Two epic poems brimming with intimacy, history and revolution, from the acclaimed writer of Palmares and Corregidora. When the Portuguese attack Palmares, Brazil's last fugitive slave enclave, Almeyda and her husband are separated as they flee from the destruction. Amid the flight and re-enslavement of the inhabitants, their narrative emerges. Two powerful poems give voice to the lovers: Almeyda's passionate lament for Anninho, whom she believes has been killed, is combined with his response as he searches for her. Their story is one of longing - for each other, for freedom - and for revolution. 'A once-in-a-lifetime work of literature, the kind that changes your understanding of the world' Yara Rodrigues Fowler on Palmares 'Page after breathtaking page, her prose is intricate, mesmerizing, and endlessly inventive' Deesha Philyaw on Palmares 'Jones's writing powerfully blends narrative and lyricism' Margo Jefferson

By the acclaimed writer of Palmares and Corregidora. When the Portuguese attack Palmares, Brazil's last fugitive slave enclave, Almeyda and her husband are separated as they flee from the destruction. Amid the flight and re-enslavement of the inhabitants, their narrative emerges. Two powerful, epic poems give voice to the lovers: Almeyda's passionate lament for Anninho, whom she believes has been killed, is combined with his response as he searches for her. Their story is one of longing - for each other, for freedom - and for revolution. 'I want to stay here, Anninho.' 'There won't be any way you can stay here. When they catch us, they'll take you back.' 'The men they kill, the women they take back.'

Song for Almeyda and Song for Anninho

Routledge Revivals

Originally published in 1973, this is foremost a study of Dryden as a writer, but, the author maintains, his ideas cannot be separated from his art. Dryden's concern with familiar 17th Century problems make him almost as important to the historian as to the student of English Literature.

Dryden

Nigel

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