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.

"A bravura performance."—The New York Times Histories and personalities collide in this literary tour-de-force about the Philippines’ present and America’s past by the PEN Open Book Award–winning author of Gun Dealers’ Daughter. Two women, a Filipino translator and an American filmmaker, go on a road trip in Duterte’s Philippines, collaborating and clashing in the writing of a film script about a massacre during the Philippine-American War. Chiara is working on a film about an incident in Balangiga, Samar, in 1901, when Filipino revolutionaries attacked an American garrison, and in retaliation American soldiers created “a howling wilderness” of the surrounding countryside. Magsalin reads Chiara’s film script and writes her own version. Insurrecto contains within its dramatic action two rival scripts from the filmmaker and the translator—one about a white photographer, the other about a Filipino schoolteacher. Within the spiraling voices and narrative layers of Insurrecto are stories of women—artists, lovers, revolutionaries, daughters—finding their way to their own truths and histories. Using interlocking voices and a kaleidoscopic structure, the novel is startlingly innovative, meditative, and playful. Insurrecto masterfully questions and twists narrative in the manner of Italo Calvino’s If on a Winter’s Night a Traveler, Julio Cortázar’s Hopscotch, and Nabokov’s Pale Fire. Apostol pushes up against the limits of fiction in order to recover the atrocity in Balangiga, and in so doing, she shows us the dark heart of an untold and forgotten war that would shape the next century of Philippine and American history.

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.

WINNER OF THE FORWARD PRIZE FOR BEST FIRST COLLECTION Chosen as a Book of the Year by New Statesman, Financial Times, Guardian, Observer, Rough Trade and the BBC Shortlisted for the Rathbones Folio Prize Longlisted for the Jhalak Prize 'Restlessly inventive, brutally graceful, startlingly beautiful ... a landmark debut' Guardian 'Oh my God, he's just stirring me. Destroying me' Michaela Coel 'A poet of truth and rage, heartbreak and joy' Max Porter 'Takes us into new literary territory ... impressive' Bernardine Evaristo, New Statesman (Books of the Year) 'It's simply stunning. Every image is a revelation' Terrance Hayes What is it like to grow up in a place where the same police officer who told your primary school class they were special stops and searches you at 13 because 'you fit the description of a man' - and where it is possible to walk two and a half miles through an estate of 1,444 homes without ever touching the ground? In Poor, Caleb Femi combines poetry and original photography to explore the trials, tribulations, dreams and joys of young Black boys in twenty-first century Peckham. He contemplates the ways in which they are informed by the built environment of concrete walls and gentrifying neighbourhoods that form their stage, writes a coded, near-mythical history of the personalities and sagas of his South London youth, and pays tribute to the rappers and artists who spoke to their lives. Above all, this is a tribute to the world that shaped a poet, and to the people forging difficult lives and finding magic within it. As Femi writes in one of the final poems of this book: 'I have never loved anything the way I love the endz.'