Yogesh's poems are Jazz! The poems in The Rapids express the living movement of thoughts rushing between rocky outcrop of words. This is also a secret of Yogesh's new poetic form. He cracks his poems open in the knowledge that they will cohere somewhere in the mind of the reader. He does so in the knowledge that this will let in air and light, and the scared water of the Wandle. - Philip Richard Hall What falls to pieces does not need to disseminate into darkness or pandemonium. Like harnessed rapids, as in an exhilarating ride, coherence can emerge. Meaningful living can be assimilated from it. Past coexists with our present. So, the allusions to mythological characters and folklore help extend the meaning and become participants. They do not just dress up our reality; they allow us to connect to our heritage. These intricate poems take this aboard and explore the loss of someone or love, displacements, a crisis of identity, belonging, breakups, and social and political engagement. Dabbed in ruffled sadness, but bridging through reasoning, they negotiate a passage to the emotional sanctuary.

Fiction and essays inspired by Paris from more than 70 Anglophone writers -- A MoveableFeast for the twenty-first century. "When good Americans die, they go to Paris", wrote the Irish playwright Oscar Wilde in 1894. The French capital has always radiated an unmatched cultural, political and intellectual brilliance in the anglophone imagination, maintaining its status as the modern cosmopolitan city par excellence through the twentieth century to today. We'll Never Have Paris explores this enduring fascination with this myth of a bohemian and literary Paris (that of the Lost Generation, Joyce, Beckett and Shakespeare and Company) which also happens to be a largely anglophone construct -- one which the Eurostar and Brexit only seem to have exacerbated in recent years. Edited by Andrew Gallix, this collection brings together many of the most talented and adventurous writers from the UK, Ireland, USA, Australia and New Zealand to explore this theme through short stories, essays and poetry, in order to build up a captivating portrait of Paris as viewed by English speakers today -- A Moveable Feast for the twenty-first century. We'll Never Have Paris includes contributions from seventy-nine authors, including Tom McCarthy, Will Self, Brian Dillon, Joanna Walsh, Eley Williams, Max Porter, Sophie Mackintosh and Lauren Elkin.

The inherent 'metropolitanism' of writing for a Romantic-era periodical is here explored through the Elia articles that Charles Lamb wrote for the London Magazine.

While many books, films and documentaries claim to have captured the phenomenon that was Swinging London, just one magazine was present in the capital during the 1960s to illustrate this extraordinary moment as it unravelled. London Life emerged in October 1965 and, over the next fifteen months, would document the capital's action at its absolute zenith. With imagery from the likes of David Bailey, Duffy and Terence Donovan, designs from Peter Blake, David Hockney, Gerald Scarfe and fledgling artist Ian Dury plus words and opinions from those riding high on the city`s cutting-edge, London Life remains the coolest document from the capital's most exciting period. Collected for the first time, including forewords from Peter Blake and David Puttnam and a scene-setting introduction from Simon Wells, London Life offers a remarkable and candid view on a period when London was the creative hub of the world.

Sudeep Sen's Fractals includes a wide swath of his poetry, from 1980 to the present, as well as a representative collection of his translations into English of other poets writing in Bengali, Hindu, Urdu and other languages. Sen's poems are both vivid observations and insightful meditations, often ekphrastic in that they are inspired by other art forms -- from modern European painters to classical Indian dancers. Narratives generally underlie his poems, giving us stories from around the world, past and present, from the grit of war to the mysteries of mythology.