The Solex Brothers explores the fate of the individual - albeit a rather feeble individual - and of personal responsibility in a culture of absurd, inexorable forces. Farce navigating towards moral absolution in narratives at once Fauvist and Baroque, expunging the twee with a reformist's remorseless vigour; cherishing its influences with a poststructuralist's vertical rigour; and, at times, chasing its tail with a schoolboy's reductive snigger.

An engaging and authoritative introduction to an increasingly important and popular literary genre Prose Poetry is the first book of its kind—an engaging and authoritative introduction to the history, development, and features of English-language prose poetry, an increasingly important and popular literary form that is still too little understood and appreciated. Poets and scholars Paul Hetherington and Cassandra Atherton introduce prose poetry’s key characteristics, chart its evolution from the nineteenth century to the present, and discuss many historical and contemporary prose poems that both demonstrate their great diversity around the Anglophone world and show why they represent some of today’s most inventive writing. A prose poem looks like prose but reads like poetry: it lacks the line breaks of other poetic forms but employs poetic techniques, such as internal rhyme, repetition, and compression. Prose Poetry explains how this form opens new spaces for writers to create riveting works that reshape the resources of prose while redefining the poetic. Discussing prose poetry’ s precursors, including William Wordsworth and Walt Whitman, and prose poets such as Charles Simic, Russell Edson, Lydia Davis, and Claudia Rankine, the book pays equal attention to male and female prose poets, documenting women’s essential but frequently unacknowledged contributions to the genre. Revealing how prose poetry tests boundaries and challenges conventions to open up new imaginative vistas, this is an essential book for all readers, students, teachers, and writers of prose poetry.

This book explores how television series can be understood as a form of literature, bridging the gap between literary and television studies. It goes beyond existing adaptation studies and narratological approaches to television series in both its scope and depth. The respective chapters address literary works, themes, tropes, techniques, values, genres, and movements in relation to a broad variety of television series, while drawing on the theoretical work of a host of scholars from Simone de Beauvoir and Yuri Lotman to Ted Nannicelli and Jason Mittel, and on critical approaches ranging from narratology and semiotics to empirical sociology and phenomenology. The book fosters new ways of understanding television series and literature and lays the groundwork for future scholarship in a number of fields. By questioning the alleged divide between television series and works of literature, it contributes not only to a better understanding of television series and literary texts themselves, but also to the development of interdisciplinary scholarship in the humanities.

This book is the first collection of essays on the British prose poem. With essays by leading academics, critics and practitioners, the book traces the British prose poem’s unsettled history and reception in the UK as well as its recent popularity. The essays cover the nineteenth, twentieth and twenty-first centuries exploring why this form is particularly suited to the modern age and yet can still be problematic for publishers, booksellers and scholars. Refreshing perspectives are given on the Romantics, Modernists and Post-Modernists, among them Woolf, Beckett and Eliot as well as more recent poets like Seamus Heaney, Geoffrey Hill, Claudia Rankine, Jeremy Over and Vahni Capildeo. British Prose Poetry moves from a contextual overview of the genre’s early volatile and fluctuating status, through to crucial examples of prose poetry written by established Modernist, surrealist and contemporary writers. Key questions around boundaries are discussed more generally in terms of race, class and gender. The British prose poem’s international heritage, influences and influence are explored throughout as an intrinsic part of its current renaissance.

This is another sensational collection from Luke Kennard packed with humour and his heady mix of crazy animistic narrators and surreal mise-en-scene. Taking off from his much celebrated second collection, The Harbour Beyond the Movie which was shortlisted for the 2007 Forward Prize for Poetry, this book will delight Kennard's readers and find him even more fans. Not to be missed.

NEXT GENERATION POET 2014SHORTLISTED FOR THE FORWARD POETRY PRIZE 2007. Luke Kennard is an award-winning poet, critic and short-fiction writer. He works as a research student and assistant teacher at the University of Exeter. He is an award-winning man.His first award-winning collection of prose poems The Solex Brothers was published by Stride Books in 2005 and won an award. He has worked as regional editor for Succour, a biannual journal of poetry and short fiction based at the University of Sussex and as an associated reader for The Kenyon Review. He is currently reviews editor of Exultations and Difficulties. His award-winning poetry has appeared in numerous print and on-line journals. He exists in a permanent state of award-winning; he is like a giant magnet for awards or, if awards are moths, a giant light.His award-winning work for the stage has been written with and performed by the theatre company Pegabovine in Bristol, Birmingham, London, Scarborough (as part of the National Student Drama Festival, 2003 and 2004, wherein it won an award) and at the Edinburgh International Fringe (wherein it did not win an award). The Sunday Times described their work as “wit of a different order”, but did not specify which one. Chortle magazine described it as “delightful” – which is probably less equivocal. He is constantly decorated for his achievements in the form of awards – which he has won, does win and will continue to win, because he is a winner. What a guy.Luke Kennard is tall, nervous, polite and frequently scorches the end of his nose. He was educated at Holyrood Community School and the University of Exeter. He is married and lives in Devon, birthplace of the memorial bench. Essentially a lower-middle class purist, his favourite canapé is the cocktail sausage roll. He will probably have rosettes and medals incorporated into his gravestone, somehow.Luke Kennard, award-winner, won an Eric Gregory Award from the Society of Authors in 2005. This has been described as a travesty and a slap in the face for writers of genuine talent. Ever since he has been forced to travel under a false name and wear nose-moustache-glasses for fear of being assaulted by embittered poets, young and old. I suppose he could just smash them in the head with one of his awards. He was received by the Orthodox church in 2006 and is working on his humility.

The year is 2016 and Luke Kennard finds himself estranged from his family, his publisher and his faith. With the help of his Community Psychiatric Nurse, who claims to be the living embodiment of Cain - the first murderer - the poet changes his name to Father K and searches for answers - in his childhood, in poetry, in alcohol, and in a ......