Shortlisted for the 2022 Jhalak Prize The Poetry Book Society Winter Choice 2021 Vahni Capildeo's Like a Tree, Walking is a fresh departure, even for this famously innovative poet. Taking its title from a story of sight miraculously regained, this book draws on Capildeo's interest in ecopoetics and silence. Many pieces originate in specific places, from nocturnes and lullabies in hilly Port of Spain to 'stillness exercises' recording microenvironments - emotional and aural - around English trees. These journeys offer a configuration of the political that makes a space for new kinds of address, declaration and relation. Capildeo takes guidance from vernacular traditions of sensitivity ranging from Thomas A Clark and Iain Crichton Smith to the participants in a Leeds libraries project on the Windrush. Like a Tree, Walking is finally a book defined by how it writes love.

'Expatriation: my having had a patria, a fatherland, to leave, did not occur to me until I was forced to invent one. [...] This luxury of inattention, invention, and final mismatch...a 'Trinidad' being created that did not take my Trinidad away (my Trinidad takes itself away, in reality, over time)...that is expatriation, no? An exile, a migrant, a refugee, would have been in more of a hurry, would have been more driven out or driven towards, would have been seeking and finding not.'In Measures of Expatriation Vahni Capildeo's poems and prose-poems speak of the complex alienation of the expatriate, and address wider issues around identity in contemporary Western society. Born in Trinidad and resident in the UK, Capildeo rejects the easy depiction of a person as a neat, coherent whole - 'pure is a strange word' -embracing instead a pointilliste self, one grounded in complexity. In these texts sense and syntax are disrupted; languages rub and intersect; dream sequences, love poems, polylogues and borrowed words build into a precarious self-assemblage.' Cliche', she writes, 'is spitting into the sea', and in this book poetry is still a place where words and names, with their power to bewitch and subjugate, may be disrupted, reclaimed. The politics of the body, and cultures of sexual objectification, gender inequality and casual racism, are the borders across which Capildeo homes, seeking the modest luxury of being 'looked at as if one is neutral ground'. In the end it is language itself, the determination to speak, to which the poet finds she belongs: 'Language is my home, I say; not one particular language.' Measures of Expatriation is in the vanguard of literature arising from the aftermath of Empire, with a fearless and natural complexity. 'Expatriation: my having had a patria, a fatherland, to leave, did not occur to me until I was forced to invent one. [...] This luxury of inattention, invention, and final mismatch...a 'Trinidad' being created that did not take my Trinidad away (my Trinidad takes itself away, in reality, over time)...that is expatriation, no? An exile, a migrant, a refugee, would have been in more of a hurry, would have been more driven out or driven towards, would have been seeking and finding not.'

Longlisted for the 2020 BOCAS Prize for Caribbean Literature. A Telegraph Book of the Year 2019. Vahni Capildeo, author of Measures of Expatriation (Forward Prize, 2016), returns with a third Carcanet volume, Skin Can Hold. The collection marks an adventurous departure for a pen-and-paper poet. These texts are the fruit of collaborative experiments in theatre, dance and other performance, drawing on burlesque and mime as well as Capildeo's fascination with Caribbean masquerade. The poems are astir with voices and bodies usually kept `between the lines' of poetry: a weeping poltergeist disrupting the decorum of a lyric; polyglot workmen along an ivory-towercity road. Novels are turned inside out to become dramas of sleaze and surveillance.

Exploring a universe where anything can happen, because there is nothing that can t be imagined and there s no connection between different experiences that can t be made, "Utter" breaks down old boundaries: between the past and present, between human and animal, animate and inanimate, between the Caribbean and the global elsewhere, between the experienced world and the world of books. Vahni Capildeo rarely appears to speak in her own voice but creates a whole range of striking and sometimes mysterious personas; in the dialogue among the voices in the poems, a way of seeing, multifarious as it is, begins to emerge. The poems express a view that finds much in the world that is unjust, cruel, corrupt, and hypocritical but also finds moments of community and tenderness; there is darkness and there is humor, and sometimes the latter seems the only possible response to the former."

Sean Scully (b.1945) is an Irish-born, American-based painter and printmaker, best known for his monumental oil paintings which draw on the traditions of Abstract Expressionism. This catalogue showcases a recent body of work inspired by the National Gallery's own collection and in particular by J.M.W. Turner's The Evening Star (c.1830). For Scully, this elegiac picture constitutes one of Turner's most profound paintings, leading to new departures in his own work. Using the motif of stripes or chequerboards, Scully evokes landscapes and architecture, horizons, fields, and coastlines, in which his contemplative forms become reminders of personal experiences and distinctive moments. Vast, bold panel paintings with richly textured surfaces are illustrated together with delicate works on paper: aquatints and luminous pastels. The accompanying text includes newly commissioned essays, and poetry by Vahni Capildeo and Kelly Grovier, while a unique photo essay by Irish novelist Eimear McBride highlights the sweeping impasto, strong brushstrokes, and vivid colors that distinguish Scully's painting.

Vahni Capildeo is a British Trinidadian writer of poetry and prose. Her recent work also appears in New Poetries VI (Carcanet, 2015).

The Poetry Book Society Summer 2018 Choice. Shortlisted for The 2018 Forward Prize for Best Collection. Vahni Capildeo's Venus as a Bear collects poems on animals, art, language, the sea, thinghood, metaphor, description, and dance. They tend toward, and tend to, the inanimate and non-human, tenderly disclosing their forms of sentience. We have feelings for creatures, objects and places, but where do these affinities come from? How do things, as things, affect us, remain mysterious while making themselves known? For Capildeo answers formed at their own pace, while waiting for lambing at a friend's farm; exploring the Ashmolean Museum in Oxford; criss-crossing the British Isles with the Out of Bounds poetry project; or hearing of Africa and the Romans in Scotland, of Guyana and Shakespeare, while standing over-the-boots deep in a freezing sea off the coast of Wales. Many of the poems respond to real places, objects and people, as investigations, meditations, or dedications. They dwell on bodies and dwell in the body, inviting ardent, open forms of reading, in the spirit of their composition.

The Best British Poetry 2012 presents the finest and most engaging poems found in literary magazines and webzines over the past year. The material gathered represents the rich variety of current UK poetry. Each poem is accompanied by a note by the poet explaining the inspiration for the poem. An indispensable guide to British poetry and a must-have purchase for anyone interested in the art, from newcomers to the most experienced professional and all creative writing students working in English.

This poetry collection includes prose. Some pieces tell stories. Others half-express, half-explain, a certain pressure of situation. Poems in a book do not sound, or signify, as do poems extracted, or composed, to stand alone. The sequence matters, as does the whole. Prose, by the fact of its inclusion in a poetry collection, calls attention to its qualities, and to poetry's differences, as it cannot do elsewhere. Writers pick up on, think their way into, other voices. If this is objectionable, so is every attempt to understand others. The words on my pages derive from various areas in my mental landscape. One example: having read some Anglo-Saxon, the poetry of a people who understood the sea, I sought a way to render the rhythms and memories that, in England, recalled me to Trinidad. Without imitation, without the superimposition of one tradition on another experience, different bindings of language became available to tie and loosen what held my mind. The influences, and processes, are many and ongoing. I realized that this shifting of modes, which initially seemed natural, was not universally obvious. This became a concern within the writing. Identity politics; the lyrical I; were inadequate to a sense of self evolving from others and their words, accessible or arcane. This book is an autobiography, moving outwards from Trinidad; from the mind that feels free to report on the world, into the mind that knows it must question itself. Finally it becomes a way of honouring the dead, a logical journey's-end.