Andrew Motion has been close to the centres of British poetry for over fifty years. Sleeping on Islands is his clear-sighted and open-hearted account of this remarkable career. It takes us from scenes of a teenage home-life coloured by tragedy and silence - where writing was as much a refuge as an assertion - to the excruciations of early public appearances, to the decade he spent as Poet Laureate, promoting and ensuring the central place of poetry in a nation's character. Along the way, we hear about the risks and sacrifices involved, as well as the difficulties of sustaining a commitment to writing within a helix of other obligations. We see in close-up the significance of Motion's formative relationship with W. H. Auden and his subsequent friendship with Philip Larkin. And during his time as Laureate, we witness memorable encounters with Royalty and Prime Ministers, and discover the costs and complications that accompany such a high-profile role. By turns moving and humorous, this is the intimate story of a rare poetic life. And it proves Motion's contention that the poems we most enjoy 'are not weird visitations, or ornaments stuck on the surface of life, but part of life's daily bread'.

This comprehensive edition draws on Andrew Motion's distinguished body of work from Secret Narratives (1983) to his most recent volume, Randomly Moving Particles (2020), and includes a substantial selection of new and previously uncollected poems. Certain preoccupations unite the book, which from first to last is particularly concerned with the ways in which our lives are shaped by loss - by wars, by accidents, by the erosion of time and by grief. Motion is an energetic and protean spirit, a listener and a watcher, and while his poems mostly develop his themes by using intimate and lyric forms, they also sometimes adapt from direct speech and documentary sources. In every case, and especially movingly in the long poem 'Essex Clay', Motion uses acts of personal witness to reflect the vulnerabilities of the world at large. These are extraordinary poems of and for our times, enlarging our sense of the cost of human experience even as they refine those sensibilities that keep us most alive and engaged with the present. 'Andrew Motion is one of the essential English poets of our time.' John Burnside 'Motion's greatest and most distinctive gift . . . is to look squarely at the world and describe it with a plain and unsentimental eloquence that makes worldly value seem all the more questionable.' Bernard O'Donoghue, Independent on Sunday

Philip Larkin is recognised as one of the most important writers to have emerged in Britain since the Second World War. First published in 1982, Andrew Motiona (TM)s study begins with an account of Larkina (TM)s life and literary background and discusses his literary relationship with Hardy and Yeats and his association with the Movement. He analyses Larkina (TM)s two novels and assesses his three mature collections. Throughout the book much reference is made to uncollected reviews and articles and occasionally to unpublished manuscripts. Rather than developing the familiar line on Larkin as an empirical and melancholy writer, Andrew Motion explores the Symbolist and transcendent element in his work, and emphasises its range and variety.

Philip Larkin is recognised as one of the most important writers to have emerged in Britain since the Second World War. First published in 1982, Andrew Motiona (TM)s study begins with an account of Larkina (TM)s life and literary background and discusses his literary relationship with Hardy and Yeats and his association with the Movement. He analyses Larkina (TM)s two novels and assesses his three mature collections. Throughout the book much reference is made to uncollected reviews and articles and occasionally to unpublished manuscripts. Rather than developing the familiar line on Larkin as an empirical and melancholy writer, Andrew Motion explores the Symbolist and transcendent element in his work, and emphasises its range and variety.

Randomly Moving Particles is built from two long poems that form its opening and close, connected by three shorter pieces. The title poem, in a kaleidoscope of compelling scenes, engages with subjects that include migration, placement, loss, space exploration and current British and American politics. It is a clarifying action and reaction between terra and solar system, mundanity and possibility, taking us from the grit of road surfaces to the distant glimpses of satellites. The final poem, 'How Do the Dead Walk', combines mythic reach with acute observation of the familiar, in order to address issues of contemporary violence. It is altogether more dreamlike, even in its tangibly military moments, grasping as it does at phantoms and intermediate plains. Andrew Motion's expansive new poetry collection is direct in its emotional appeal, ambitious in its scope, all the while retaining the cinematic vision and startling expression that so freshly lit the lines of his last, Essex Clay.

How do writers work? The differing habits of seven great authors are examined in this collection. Writers often meditate on what physical situations they need to do the work in hand. A room of their own, bills, bed, procrastination, regular meals, Benzedrine and beer, office routines, walking and riding, even prison, can be machines that make them write. Trollope got 2,000 words done every morning, watch on the table. Clare composed en pleine air, jotting on his hat rim. Wesley's hymns came to him on horseback. The Bronte sisters paced round adrawing-room table. Donne was dismally prompted to write by nappies. Johnson needed the printer's devil knocking at his door. On a grand scale, city planners try to entice the creative classes into a creative area: while at alocal level, readers have a magical sense that putting themselves into the bodily position of a writer may allow them to join in her planning and plotting. The essays in this volume examine the working habits of seven greatauthors, from 1600 to today: Jonson, Milton, the Bronte sisters, Trollope, Oliphant, and Auden. There are also interviews on the creative environment with the Poet Laureate of Great Britain, the British Library's Head of Modern Literary Manuscripts, the Director of the Hay Festival, research fellows at Stratford and the Globe, and a poet-web-blogger. CONTRIBUTORS: STAN SMITH, ELISABETH JAY, N. JOHN HALL, STEVIE DAVIS, PETER C. HERMAN, FARAH KARIM-COOPER, KATE RUMBOLD, MICHELLE O'CALLAGHAN, ADAM SMYTH, ANDREW MOTION, JAMIE ANDREWS, ROBERT SHEPPARD, PETER FLORENCE

Elegy is among the world's oldest forms of literature: a continuous poetic tradition which stretches back beyond the time of Virgil and Horace to Ancient Greece, speaking eloquently and movingly of the experience of loss and the yearning for consolation. In perhaps the purest instance of art's fundamental 'impulse to preserve' (Philip Larkin), it gives shape and meaning to memories too painful to contemplate for long, and answers our desire to fix in words what would otherwise slip our grasp. In The Penguin Book of Elegy, Andrew Motion and Stephen Regan trace the history of this tradition, selecting the best and most significant poems and poets from the Classical roots of elegy, and from its Renaissance revival down to the present day. They show how this remarkably resilient and versatile form has continued to adapt itself even as society and religious belief have shifted around it, with striking achievements in the work of twentieth- and twenty-first-century poets as different as Marianne Moore, Dylan Thomas, Denise Riley and Gwendolyn Brooks. The result is the only comprehensive anthology of its kind now available in the English language. The Penguin Book of Elegy is itself a work of preservation - and a profound and moving catalogue of the fundamentally human urges to remember and honour the dead, and give comfort to those who survive them.

Written from a teenage child's point of view, Motion captures the pathos and puzzlement of childhood with great clarity of expression and freshness of memory. We encounter a strange but beguiling extended family, a profound love of the natural world, a troubled schooling, and a growing passion for books and writing. By turns funny, heartbreaking and elegiac, In the Blood is a deeply moving portrait of the bond between a mother and her son, and the capturing of a moment in time before the loss of childhood innocence.

'Who's Who in Twentieth-Century Poetry is excellent value.' - Bob Duckett, Bradford Libraries

Andrew Motion's first work of biography won a Somerset Maugham Award in 1987.

'A biographical triumph.' "Observer"

'The story of the three Lamberts is as cruel and horrifying as any Greek tragedy... Its portrayal of the way in which the Lamberts instinctively yet unintentionally assisted in the destruction of their own offspring makes for truly compulsive reading.' "Harpers and Queen"

'Motion's project is not just to tell the story of passing generations, which he does very readably and well, but necessarily also to describe and evaluate aspects of English culture - revivalist painting, classical music in the Twenties and Thirties, the foundation of a native ballet, pop music in the Sixties - which he does with considerable confidence and resource.' "London Review of Books"

""

In this series, a contemporary poet selects and introduces a poet of the past. By their choice of poems and by the personal and critical reactions they express in their prefaces, the editors offer insights into their own work as well as providing an accessible and passionate introduction to the most important poets in our literature. A thing of beauty is a joy for ever: Its loveliness increases; it will never Pass into nothingness; but still will keep A bower quiet for us, and a sleep Full of sweet dreams, and health, and quiet breathing. -- Endymion

Salt Water is Andrew Motion's most ambitious collection, yet also his most accessible. The first part refines the narrative and lyric skills for which he is well-known, combining intense personal concerns with themes which are more expansive and social. Family and loved ones appear in the company of historical and legendary figures; private dramas raise large general issues. But there is concentration as well as diversity. From the Orford Merman of the title poem, to an elegy written for a friend who died on the Marchioness, to the vivid prose meditation of the second part, written when Andrew Motion retraced the voyage that John Keats made by sea from London to Naples in the autumn of 1820, the book insistently and brilliantly elaborates images of water. It is the element which facilitates a rich interweaving of past and present, of re-enacted experience and the poignant suspension of the lived-in moment.

Andrew Motion's new collection (his first since Public Property in 2002) offers a ground-breaking variety of lyrics, love poems and elegies, in which private domains of feeling infer other lives and a shared humanity - exploring how people cope with threats to and in the world around them, as soldiers, lovers, artists, writers and citizens. The conversational tone and formal variety of these poems both shapes and diversifies their response to loss and its inevitabilities. Here are poems about the last surviving veteran of the trenches; poems which work with found materials drawn from the contiguous worlds of prose; poems which elicit the parallel lives glimpsed in paintings, or the other lives of birds, trees and weather (as of an ordinariness just out of reach). An unemphatic evenness of handling, in the detailing of ordinary destinies, alternates with capacious panoramas of longing and summation, and the collection ends with a remarkable group of directly autobiographical poems about the life and times of the poet's father.

In this series, a contemporary poet selects and introduces a poet of the past. By their choice of poems and by the personal and critical reactions they express in their prefaces, the editors offer insights into their own work as well as providing an accessible and passionate introduction to the most important poets in our literature. William Barnes was born in 1801 near Sturminster Newton in Dorset, of a farming family. He learned Greek, Latin and music, taught himself wood engraving, and in 1823 became a schoolmaster in Mere. He was deply interested in grammar and language, and waged a lifelong campaign to rid English of classical and foreign influences. Among his best-known books of poetry are Poems of Rural Life in the Dorset Dialect (1844) and Homely Rhymes (1859. His work has often been praised for its evocations of Dorset life, landscape and customs; he also wrote political poems of great power and was a master elegist. Barnes died in 1886.

The second half of Andrew Motion's new collection returns to the sequence begun in Laurels and Donkeys, completing a body of work recognised by the Wilfred Owen Poetry Award in 2014. These meditations on combat and the people caught up in it look back to conflicts of the past: to the 'war to end all wars'; to Rupert Brooke on his final journey; to Wilfred Owen at Craiglockhart War Hospital; to Archduke Franz Ferdinand on the day of his fatal shooting. But Motion also depicts the ravages of modern warfare through reported speech, redacted documents, and vivid evocations of place, his plain understatement bringing the magnitude of war home to our own shores. These poems are moving and measured, delicate and clear-eyed, and bear witness to the futility of war and the suffering of those left behind. Elsewhere we find biographies in miniature, dreams and visions, family histories, which in their range of forms and voices consider questions of identity, and character. These are poems of remembrance in which Motion's war poems, all in their own way elegies, find a natural partner. Peace Talks is a wise and compassionate work.

Love in a Life, Andrew Motion's sixth volume of poetry, marks a conspicuous development in the work of the founder of the modern Narrative School. Directness and a new colloquialism are wedded to Motion's distinctive obliquities in a volume where the idea of marriage governs the architecture of each poem and the book as a whole. The stories of two marriages gradually emerge, like chapters in a narrative, and are themselves bound to more public material, so that each lends profound resonances to the other.

Andrew Motion's prose memoir In the Blood (2006) was widely acclaimed, praised as an act of magical retrieval and a hymn to familial love. Now, over a decade later and after moving to live and work in the United States, Motion looks back once more to recreate a stunning biographical sequel - but this time in verse.

Essex Clay rekindles, expands and gives a tragic resonance to subjects that have haunted the poet throughout his writing life. In the first part, he tells the story of his mother's riding accident, long unconsciousness and slow death; in the second, he remembers the end of his father's life; and in the third, he describes an encounter that deepens the poem's tangled themes of loss and memory and retrieval. Although the prevailing mood of the poem has a sweeping Tennysonian melancholy, its wealth of physical details and its narrative momentum make it as compelling as a fast-paced novel: a settling of accounts which admits that final resolutions are impossible.

Public Property was Andrew Motion's first collection of poetry after being appointed Poet Laureate. In it, he negotiates the very space of poetry, moving between private and public realms, pondering each from the other's borders. In the opening series of idylls he conjures the expeditionary narratives of a rural childhood, in scenes as precisely remembered as they are irretrievable. Elsewhere he reconsiders moments from the Victorian past from reticent and surprising angles, and elsewhere again he tackles distinctly contemporary themes and situations. The final section of the book contains a number of elegies and love poems, written in a variety of lyric forms, which provoke concerns that are among the most critical in poetry: What is public art? To whom do our most private sentiments belong?

Philip Larkin: A Writer's Life won the Whitbread Award for Biography in 1993 and was championed as 'an exemplary biography of its kind' (The Times). With a new introduction written by the author, this edition offers an engrossing portrait of one of the twentieth century's most popular, and most private, poets.

'There will be other lives of Larkin, but Motion's, like Forster's of Dickens, will always have a special place.' John Carey, Sunday Times

'Larkin lived a quietly noble and exemplary version of the writer's life; Motion - affectionate but undeceived about the man's frailties, a diligent researcher and a deft reader of poetry - has written an equally exemplary 'Life' of him.' Peter Conrad, Observer

'Honest but not prurient, critical but also compassionate, Motion's book could not be bettered.' Alan Bennett, London Review of Books

Andrew Motion's new book opens with a sequence of war poems (first published as the pamphlet Laurels and Donkeys, on Armstice Day 2010), drawing on soldiers' experiences of war from 1914 until today - beginning with a story about Siegfried Sassoon and moving via World War Two and Korea to the recent conflicts in Iraq and Afghanistan. Many of the poems are in the voices of combatants, others are based on memories of the poet's father, who landed at D-day and fought in France and Germany. The poems combine understatement with a clear-eyed and unswerving candour. The Customs House has other rooms: a group of topographies, mapping moments in a marriage against the contingencies of place and family history; and several 'found poems', in which the poet collaborates with his source, mixing what is there already with what is about to be there: whether a remarkable sonnet sequence on the last days of the Baroque genius Francesco Borromini, or in other poems a richly imagined extrapolation from the silent premises of a painting.

Jane Austen's Emma is her masterpiece, mixing the sparkle of her early books with a deep sensibility' Observer Emma is young, rich and independent. She has decided not to get married and instead spends her time organising her acquaintances' love affairs. Her plans for the matrimonial success of her new friend Harriet, however, lead her into complications that ultimately test her own detachment from the world of romance. WITH AN INTRODUCTION BY ANDREW MOTION VINTAGE CLASSICS AUSTEN SERIES - all six of Jane Austen's major novels, beautifully designed and introduced by our finest contemporary writers.

"The Price of Everything brings together two long poems. "Lines of Desire" depicts an individual in crisis under pressure from past and present events. "Joe Soap" combines narrative and lyric forms to trace an historical pattern reaching from the First World War to a contemporary apocalypse. Both are remarkable additions to Motion's important and ongoing body of work.

First published in 1997, Keats was the first major biography of this tragic hero of Romanticism for some thirty years, and it differs from its predecessors in important respects. The outline of the story is well known - has become, in fact, the stuff of legend: the archetypal life of the tortured genius, critically spurned and dying young. What Andrew Motion brings to bear on the subject is a deep understanding of how Keats fitted into the intellectual and political life of his time. Important friendships with such anti-establishment figures as William Hazlitt and Leigh Hunt are given their full due, and the closeness of his own spirit, as expressed in his poems, to the ferment all around is made clear. Many significant facts about Keats's schooldays and medical training, in particular, enrich the picture.

Keats emerges as a more political figure than he is usually portrayed, but his personal sufferings, too, come into closer focus. Most importantly, Andrew Motion - himself a distinguished poet and former poet laureate - demonstrates how the poems continue to exert their power.

'A definitive life of a great poet, and one of the finest biographies of the decade.' New Statesman