Esther Phillips (154 results)

paperback. Condition: Good. Condition Notes: Moderate edge wear. Binding good. May have marking in text. We sometimes source from libraries. We ship in recyclable American-made mailers. 100% money-back guarantee on all orders.

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paperback. Condition: Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority.

Paperback. Condition: Fair. No Jacket. Readable copy. Pages may have considerable notes/highlighting. ~ ThriftBooks: Read More, Spend Less.

Condition: As New. Unread book in perfect condition.

Condition: New.

Paperback. Condition: new. Paperback. This collection explores the fragile territory between remembering and forgetting, both as an individual experience and in the life of a society. If in the end all is subject to times slow bleed, these poems enact the capacity of the imagination to pass through ancient walls and to reorder failures long gone in time into more hopeful connections. Poems recreate those childhood moments when physical presences, such as the great house at Drax Hall provoke the beginning of poetry, the searching for what is hidden in the dark, and thence to a grasp of the history that society would rather forget. For while forgetting is human, the collection also explores how amnesia can be cultivated in society as a means of hiding the sources of contemporary privilege and economic power. Poems such as Canvas (about the images from English and American magazines that patch up the hangings in an old womans tumbledown dwelling) not only picture children tiptoe at the rim of the world but, without needing to say it, show those children as far more familiar with Garbos bright blue eyes/ and shiny red lipstick than with the history and meaning of Drax Hall. If there are echoes of Walcotts poem where all in compassion ends, Phillips is no less compassionate, but much readier to see Historys wound still bleeding / to its last drop a wound extending down to a powerful poem in memory of George Floyd. If the collection calls out Speak, stones, bear witness!, poems also pay tribute to those who in the rural village memorialised the lives of the unconsidered poor, who, like the village historian, Miss Lewis, speaks across the years into contemporary urban life to remind me who I am. Esther Phillips poems are always lucid and musical; they gain a rewarding complexity from being part of the collections careful architecture that offers a richly nuanced inner dialogue about the meaning of experience in time. Not least powerful in this conversation are the sequence of poems about Barbadian childhoods, poems of grace, humour and insight. When Barbados chose Esther Phillips as its first poet laureate it knew what it was doing: electing a poet who could speak truth, who could challenge and console her nation and all of us. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Paperback. Condition: New. There is a candour to Esther Phillips's affecting collection of poems, The Stone Gatherer, that can be quite disarming. In poems that undress the foibles of family - a father's masks and a mother's 'fortissimo' - there is tenderness and affection despite the pain. Here is a poet's voice that seeks and finds grace notes in the spaces between experience. Hers is a poetics that locates itself in the landscape of Barbados, displaying a facility for the Barbadian dialect and the lyrical West Indian English of the major poets that have come before her. The collection's structure is a woman-centred movement of poems that begins with the complex coming-of-age journey of a child, through an adulthood of romance and crushed emotions, through the rewards and anxieties of motherhood, to the contemplative and reflective place of maturity where a woman assumes the role of elder, protector of the community, and of prophet. Phillips embraces all of these roles in her poems, allowing us to enjoy what becomes an expansive narrative through time and life's changes. She shows herself to have the wit and intelligence of an artist committed to the use of verse to test the meaning of experience. And yet in all of this, we are often most struck by Phillips's eye for detail, her sense of landscape and her willingness to locate her poems in the world that moves and breathes around her.In The Stone Gatherer, one has the sense of an artist collecting stones of different shapes and dimensions, arranging them in such a way that there is space enough for them to breathe and for us to pause to think and feel.Esther Phillips was born and lives in Barbados.…

Paperback. Condition: New. This collection explores the fragile territory between remembering and forgetting, both as an individual experience and in the life of a society. If in the end all is subject to "time's slow bleed", these poems enact the capacity of the imagination "to pass through ancient walls" and to reorder failures long gone in time into more hopeful connections. Poems recreate those childhood moments when physical presences, such as the "great house" at Drax Hall provoke the "beginning of poetry", the searching for what is "hidden in the dark", and thence to a grasp of the history that society would rather forget. For while forgetting is human, the collection also explores how amnesia can be cultivated in society as a means of hiding the sources of contemporary privilege and economic power. Poems such as "Canvas" (about the images from English and American magazines that patch up the hangings in an old woman's "tumbledown dwelling") not only picture children "tiptoe at the rim of the world" but, without needing to say it, show those children as far more familiar with Garbo's "bright blue eyes/ and shiny red lipstick" than with the history and meaning of Drax Hall. If there are echoes of Walcott's poem where "all in compassion ends", Phillips is no less compassionate, but much readier to see "History's wound still bleeding / to its last drop" - a wound extending down to a powerful poem in memory of George Floyd. If the collection calls out "Speak, stones, bear witness!", poems also pay tribute to those who in the rural village memorialised the lives of the unconsidered poor, who, like the village historian, Miss Lewis, speaks across the years into contemporary urban life "to remind me who I am". Esther Phillips' poems are always lucid and musical; they gain a rewarding complexity from being part of the collection's careful architecture that offers a richly nuanced inner dialogue about the meaning of experience in time. Not least powerful in this conversation are the sequence of poems about Barbadian childhoods, poems of grace, humour and insight. When Barbados chose Esther Phillips as its first poet laureate it knew what it was doing: electing a poet who could speak truth, who could challenge and console her nation - and all of us.…

Paperback. Condition: New. This collection explores the fragile territory between remembering and forgetting, both as an individual experience and in the life of a society. If in the end all is subject to "time's slow bleed", these poems enact the capacity of the imagination "to pass through ancient walls" and to reorder failures long gone in time into more hopeful connections. Poems recreate those childhood moments when physical presences, such as the "great house" at Drax Hall provoke the "beginning of poetry", the searching for what is "hidden in the dark", and thence to a grasp of the history that society would rather forget. For while forgetting is human, the collection also explores how amnesia can be cultivated in society as a means of hiding the sources of contemporary privilege and economic power. Poems such as "Canvas" (about the images from English and American magazines that patch up the hangings in an old woman's "tumbledown dwelling") not only picture children "tiptoe at the rim of the world" but, without needing to say it, show those children as far more familiar with Garbo's "bright blue eyes/ and shiny red lipstick" than with the history and meaning of Drax Hall. If there are echoes of Walcott's poem where "all in compassion ends", Phillips is no less compassionate, but much readier to see "History's wound still bleeding / to its last drop" - a wound extending down to a powerful poem in memory of George Floyd. If the collection calls out "Speak, stones, bear witness!", poems also pay tribute to those who in the rural village memorialised the lives of the unconsidered poor, who, like the village historian, Miss Lewis, speaks across the years into contemporary urban life "to remind me who I am". Esther Phillips' poems are always lucid and musical; they gain a rewarding complexity from being part of the collection's careful architecture that offers a richly nuanced inner dialogue about the meaning of experience in time. Not least powerful in this conversation are the sequence of poems about Barbadian childhoods, poems of grace, humour and insight. When Barbados chose Esther Phillips as its first poet laureate it knew what it was doing: electing a poet who could speak truth, who could challenge and console her nation - and all of us.…

Soft cover. Condition: Very Good. 8vo, 48pp. Fully illustrated with charming color drawings by Ottilie Foy. Softcover, bound in original cloth-backed pictorial wrappers. In very good plus condition. Firm binding and crisp, clean, interior. One small ink stamp inside front cover, otherwise no signs of prior ownership. Extremely minor shelf-wear or rubbing to extremities. A lovely copy, scarce in this condition.…

Condition: New.

Paperback or Softback. Condition: New. Heavenly Worship from the Book of Revelation. Book.

Paperback. Condition: New. Winner of the 2016 Governor General's Award and a NIFCA Gold! Leaving Atlantis is a suite of poems that explores the unstable territory between public and private. They are addressed to the great Barbadian novelist and thinker, George Lamming, the silent but speaking partner in a relationship of love that comes between two writers when "your flag is flying at half-mast".Leaving Atlantis is a suite of poems that explores the unstable territory between public and private. They are addressed to the great Barbadian novelist and thinker, George Lamming, the silent but speaking partner in a relationship of love that comes between two writers when "your flag is flying at half-mast". The suite works at multiple levels, as a record of the negotiation of feelings, permissions, exclusions and treaties between two persons who have to confront the reality of long lives that have accumulated "memories I cannot share", and not least that the poet is a woman of deep religious faith, and the man a lifelong Marxist and non-believer. What the poems also deal with in a moving but resolutely unsentimental way is the fact that the age of one of the partners makes the temporal finiteness of the relationship a matter of acute awareness. What is the poet to think when she sees the man throwing out and putting his papers in order? "Clearing out?" The poems also meditate on the ironies of a relationship with a man who has both been public property as a writer and a leader of the struggle for Caribbean sovereignty, but also an intensely private person, habituated to a life of movement and temporariness. Quite literally, Leaving Atlantis references the moment when the writer is forced to leave, with a rude absence of notice, the hotel at Bathsheba on the Atlantic coast of Barbados, his refuge for many years. Is the relationship and provision of a home a "Coming Home", the arrival at a place of rest after the turbulence of a life of struggle, or does it threaten a loss of autonomy after a life of privacy and independence? What of sovereignty now when "I am your dotage, your vulnerable/ season"? More than a portrait, fascinating and intimate as it is, of a public man; more than an exploration of the writing of the man for clues about what he might be thinking (and an acceptance of the ultimate mystery and unknowability of the intimate other), this is a suite of poems about the miracle of love, and how it may come at any time.…

Condition: New. Brand New.

Paperback. Condition: New. Brand new book, sourced directly from publisher. Dispatch time is 4-5 days from our warehouse. Book will be sent in robust, secure packaging to ensure it reaches you securely.

Condition: As New. Unread book in perfect condition.

PAP. Condition: New. New Book. Shipped from UK. Established seller since 2000.

Condition: New.

Condition: New.

Paperback. Condition: Very Good. Former owner's name inscribed on interior of front cover. Otherwise, clean and solid. ; 8.2 X 5.6 X 1.1 inches; 452 pages.

Soft cover. Condition: Good. Contributors include Keith Ellis, Vladimir Lucien, Linda Dene, Robert Lee, Jennifer Rahim, Danielle Boodoo-Fortune, Eddie Baugh, Marion Bethel, Roger McTair, Linden Lewis, Esther Philips, Kamau, Cecil gray.

Soft cover. Condition: Good. Contributions by Nancy Morejon, Margaret Gill, Supriya Nair, Velma Pollard, Dana Gilkes, Rajandaye Ramkissoon-Chen.

Soft cover. Condition: Good. Contributions by Anthony Bogues, Hilary Beckles, Kendel Hippolyte, Mark McWatt, Austin Clarke, Esther Phillips. Stained; some water damage.

Soft cover. Condition: Good. Contributions by Michael Gilkes, Ian McDonald, Geoffrey Drayton, Mervyn Morris, Mark McWatt, Kamau.

Soft cover. Condition: Good. Contributions by Kwame Dawes, Anthony Kellman, Mervyn Morris, Anthony Bogues, Carolyn Cooper.

Soft cover. Condition: Good. In celebration of the 80th birthday of George Lamming, with five pieces by Lamming and essays on Lamming by Kenneth Ramchand, Linden Lewis, and Curwen Best. The revived Bim magazine, renamed Bim: Arts for the 21st Century. This vol 1 no 1 is not to be confused with Bim Classics, vol 1 no 1.…

Condition: Very Good. First edition, first printing, 308 pp., Hardcover, very good. - If you are reading this, this item is actually (physically) in our stock and ready for shipment once ordered. We are not bookjackers. Buyer is responsible for any additional duties, taxes, or fees required by recipient's country.…

Condition: As New. Unread book in perfect condition.

Condition: As New. Unread book in perfect condition.