Fleur Adcock is one of Britain's most accomplished poets. Her poised, ironic poems are tense and tightly controlled as well as shrewdly laconic, and often chilling as she unmasks the deceptions of love or unravels family lives. Disarmingly conversational in style, they are remarkable for their psychological insight and their unsentimental, mischievously casual view of personal relationships. Born in New Zealand, she has explored questions of identity and rootedness throughout her work, both in relation to her personal allegiances to her native and adopted countries as well as her family history, whose long-dead characters she brings to life. She has also written movingly of birth, death and bereavement, and has tackled political issues with honest indignation and caustic wit. This first complete edition of her poetry is published on her 90th birthday, superseding her earlier retrospective, Poems 1960-2000, with the addition of five later collections published by Bloodaxe, Dragon Talk (2010), Glass Wings (2013), The Land Ballot (2015), Hoard (2017) and The Mermaid's Purse (2021), along with a gathering of 20 new poems. All her most celebrated poems are here, from the highly entertaining 'Against Coupling', 'Smokers For Celibacy' and 'The Prize-Winning Poem' to modern classics such as 'The Ex-Queen Amongst the Astronomers' and 'Things'.

Fleur Adcock began writing the poems in this book when she was 82. The two chief settings are New Zealand, with its multi-coloured seas, and Britain, seen in various decades. There are foreign travels, flirtations, family memories, deaths and conversations with the dead. Katherine Mansfield, incognito, dodges an academic conference; there's a lesson in water divining as well as a rather unusual Christmas party. We meet several varieties of small mammal, numerous birds, doomed or otherwise, and some sheep. The book ends with a sequence in memory of her friend, the poet Roy Fisher.

Hoard brings together poems Fleur Adcock had to keep under wraps for several years because they didn't suit the themes of her last two collections, The Land Ballot and Glass Wings. They include reflections on the tools of her trade (handwriting, typewriters), snatches of autobiography (a brief, ill-considered second marriage followed by her migration from New Zealand to England in 1963), and poems on trees, wildlife and everyday objects. Ellen Wilkinson, who led the Jarrow March in 1936, makes two appearances, joining Coleridge, several ancestors and two dogs. The most recent poems in the book recall Adcock's visits around the North Island of New Zealand in 2015, affirming her renewed although not uncritical affection for the country of her birth.

After the appearance of Fleur Adcock's Poems 1960-2000 she wrote no more poems for several years. This cessation coincided with - but was not entirely caused by - her giving up smoking. When poetry returned to her in 2003 it tended towards a sparer, more concentrated style. This new collection continues to reflect her preoccupations with family matters and with her ambivalent feelings about her native New Zealand. Her initial inspiration was the letters her father wrote home from England to his parents during World War II, which evoked her own memories of that era. The central sequence moves from her first coming to consciousness in New Zealand up to and through the war years in Britain and on to sketches from her teens in puritanical postwar Wellington after her reluctant return - not without her usual sardonic eye for incongruities and absurdities. There are also affectionate poems for her grandchildren and her late mother.

Fleur Adcock's title refers to the transparent, glittering wings of some of the species - bees, mosquitoes, dragonflies - celebrated or lamented in a sequence of poems on encounters with arthropods, from the stick insects and crayfish of her native New Zealand to the clothes' moths that infest her London house. There is an elegy for the once abundant caterpillars of her English childhood, while other sections of the book include elegies for human beings and poems based on family wills from the 16th to the 20th centuries, as well as birthday greetings for old friends and for a new great-grandson. Poetry Book Society Recommendation.

Fleur Adcock's lively translation of this selection of medieval Latin lyrics was first published in 1983, revealing many poetic treasures hidden in for centuries in scholarly obscurity. The poems are about birds - particularly the nightingale - and young women. Most are by monks or clerics, and most are rather rude. Several are by Peter of Blois, a scholar and diplomat who turned to religion in his later years and disclaimed the brilliant erotic verses of his youth. The middle section of the book presents a selection of poems by this highly accomplished and entertaining writer - who was political secretary to Henry II and later to his widow Eleanor of Aquitaine. Many of the poems were rhymed, unlike classical Latin poetry, and wherever possible Fleur Adcock has attempted to reproduce the form and rhyme-scheme of the original. In these ratty and lively translations Fleur Adcock combines classical scholarship with her own poetic flair and technical skill. The Latin poems are printed alongside her verse translations.

Renowned poet Fleur Adcock here provides modern verse translations of the complete work of two of the most exciting poets of the twelfth century, Hugh Primas of Orleans and the so-called Archpoet, beside their Latin originals. Included are witty epigrams, treatments of classical themes, poems on religious and ecclesiastical topics, depictions of low life, begging-poems, and the Archpoet's famous Confession. The work is characterised by its liveliness and its touches of satire and coarse realism, features which Fleur Adcock captures superbly in her modern renderings. There are textual notes, explanatory notes, a historical note, and an introduction. This unique resource will appeal not only to medievalists but to all lovers of poetry.

Renowned poet Fleur Adcock here provides modern verse translations of the complete work of two of the most exciting poets of the twelfth century, Hugh Primas of Orleans and the so-called Archpoet, beside their Latin originals. Included are witty epigrams, treatments of classical themes, poems on religious and ecclesiastical topics, depictions of low life, begging-poems, and the Archpoet's famous Confession. The work is characterised by its liveliness and its touches of satire and coarse realism, features which Fleur Adcock captures superbly in her modern renderings. There are textual notes, explanatory notes, a historical note, and an introduction. This unique resource will appeal not only to medievalists but to all lovers of poetry.

Fleur Adcock is one of Britain's most accomplished poets. Her poised, ironic poems are tense and tightly controlled as well as shrewdly laconic, and often chilling as she unmasks the deceptions of love or unravels family lives. Disarmingly conversational in style, they are remarkable for their psychological insight and their unsentimental, mischievously casual view of personal relationships. Born in New Zealand, she has explored questions of identity and rootedness throughout her work, both in relation to her personal allegiances to her native and adopted countries as well as her family history, whose long-dead characters she brings to life. She has also written movingly of birth, death and bereavement, and has tackled political issues with honest indignation and caustic wit. This first Collected edition of her poetry replaces her Selected Poems, with the addition of work from her later Oxford collections The Incident Book, Time-Zones and Looking Back. All her most celebrated poems are here, from the highly entertaining 'Against Coupling', 'Smokers For Celibacy' and 'The Prize-Winning Poem' to modern classics such as 'The Ex-Queen Amongst the Astronomers' and 'Things' - as well as the notorious one about kissing John Prescott... She has since published five later collections with Bloodaxe.

A land ballot was the means by which Fleur Adcock's grandparents, immigrants from Manchester during World War I, were able to bid for a piece of native bush on the slopes of Mount Pirongia in the North Island of New Zealand. Their task was to turn this unpromising acreage into a dairy farm. When things didn't work out as they had hoped much of the responsibility for running the farm and engineering their eventual escape fell on their teenage son, Adcock's father. This sequence of poems follows the course of their efforts and builds up a portrait of a small, isolated community.

In the first part of this book, her first since Time Zones (OUP, 1991), poet Fleur Adcock looks at some of her ancestors, from relatively recent figures struggling with hardship and family tragedies in 19th-century Manchester, through rural lives in Midlands villages, to a few prominent heroes and villains in Elizabethan and medieval times. In the second section she returns to more contemporary subjects, such as sex and dreaming--familiar topics of this unsettled but unsparing poet.