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In her third full-length collection 'Blood Child', Eleanor Rees
hones and extends her startling use of language and imagery to
enact the many aspects of change - fleeting, elusive or moored in a
negotiation of the material world as she roams through the
landscapes of self and city. The idea of generation is explored in
all its possibilities, the 'child' and the 'girl' are recurrent
motifs, immanent and on the threshold of a magical or imaginative
transformation. Landscapes are crossed, swum, burrowed under or
flown above; skins and edges are sheared or lost, new coverings
found and remade. Rees's poems ask how new routes can be forged
across shifting terrain and she offers the emergent space of the
imagination as the only answer.
This book highlights the significant role that production artists
played when Russian cinema was still in its infancy. It uncovers
Russian cinema's connections with other art forms, examining how
production artists drew on both aesthetic traditions and modernist
experiments in architecture, painting and theatre as they explored
the new medium of cinema and its potential to engender new models
of perception and forms of audience engagement. Drawing on set
design sketches, archival documents and film-makers' memoirs,
Eleanor Rees reveals how less-canonical films such as Behind the
Screen (Kulisy ekrana, 1919) and Palace and Fortress (Dvorets i
krepost, 1923), were remarkable from a design perspective, and also
provides new readings of well-known films, such as Children of the
Age (Deti veka, 1915) and Strike (Stachka, 1925). Rees brings to
light information on significant but understudied figures such as
Vladimir Egorov and Sergei Kozlovskii, and highlights the
involvement of well-known figures such as Lev Kuleshov and
Aleksandr Rodchenko. Unlike the majority of late Imperial directors
and camera operators, many early-Russian production artists
continued to work in cinema in the Soviet era and to draw on
practices forged before the 1917 Revolution. In spanning the entire
silent era, this book highlights the often overlooked continuities
between the late-Imperial and early-Soviet periods of cinema, thus
questioning traditional historical periodisations.
These are the voices of those who are silent: in the graveyards,
holy wells, the river, the changing tides. A ghostly choir of lost
children, hermits, lovers and rough sleepers, serving maids and
sailor boys, saints and hermaphrodites resounding through the
rhythms of the water. Places and objects communicate also: a
chapel, oak tree, back-lane, woodland, riverside town; bones sing
and a bell tolls. The poems speak with them and for them,
channelling their messages, their visions and their warnings.
Bringing together fiction from some of the city's most celebrated
writers, The Book of Liverpool traces the unique contours that
decades of social and economic change can impress on a city. Set
against key historical moments from the Second World War to the
Capital of Culture year, these stories question what 'belonging'
and 'home' mean in the Liverpudlian context, from the regenerated
city centre to satellite suburbs, from the sparring cathedrals to
the no-go concrete housing estates. Liverpool emerges in these
short stories as a city in constant flux: haunted by ghosts, buoyed
up by myths, and shifting with an ebb and flow like the Mersey
itself.
Eleanor Rees's first collection, Andraste's Hair was shortlisted
for Best First Collection in the 2007 Forward Prizes and for the
2008 Glen Dimplex Poetry Award. In her second full-length
collection she continues to play the role of mythologiser and tale
teller, moving away from her previous subject, the imagined city,
into the magical psyches of changeling creatures. In powerful
nocturnal encounters silent visitors travel from the dark world,
take on elemental form and embrace Rees's narrators with sensual
and erotic urgency. Laced with tales of physical transformations,
Rees's use of fairy stories and night visions radically reimagines
the female experience through the psychic collisions of the body
and our desires. Eliza and the Bear offers a man who gives birth,
trees that sing, a dissolving house, a woman trapped in walls, a
peasant farmer in his barren fields, the wife of a Victorian
botanist who longs for a child while her husband 'discovers' the
new world, winter songs and red hot hearths: mysterious forces
which have their home within us all.
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