Denise Riley

"This essay reflects on how perceptions of time may be altered after the sudden death of a child, and why inhabiting this sharply new temporality stops one's habitual modes of telling. Neither tearful memoir nor testament of hope, the essay charts a vivid experience of such a suspended time and discovers an unsuspected intimacy between time and language. Although a life inside this "arrested" time resists being described, it is neither exceptional or pathological; to outlive one's child is historically common enough. But, because of this felt suspension of the usual flow of time which enables narration, it leaves few literary traces"--Publisher's Web site.

Time Lived, Without Its Flow

Say Something Back will allow readers to see just why the name of Denise Riley has been held in such high regard by her fellow poets for so long. The book reproduces A Part Song, a profoundly moving document of grieving and loss, and one of the most widely admired long poems of recent years. Elsewhere these poems become a space for contemplation of the natural world and of physical law, and for the deep consideration of what it is to invoke those who are absent. But finally, they extend our sense of what the act of human speech can mean - and especially what is drawn forth from us when we address our dead. Lyric, intimate, acidly witty, unflinchingly brave, Say Something Back is a deeply moving book by one of our finest poets, and one destined to introduce Riley's name to a wide new readership.

Say Something Back

Claudia Rankine

Maggie Nelson

Rankine Maggie

Penguin Modern Poets 6

Feminism and the Category of Women in History

Am I That Name?

'I work to earth my heart.'Time Lived, Without Its Flow is an astonishing, unflinching essay on the nature of grief from critically acclaimed poet Denise Riley. From the horrific experience of maternal grief Riley wrote her lauded collection Say Something Back, a modern classic of British poetry. This essay is a companion piece to that work, looking at the way time stops when we lose someone suddenly from our lives. A book of two discrete halves, the first half is formed of diary-like entries written by Riley after the news of her son's death, the entries building to paint a live portrait of loss. The second half is a ruminative post script written some years later with Riley looking back at the experience philosophically and attempting to map through it a literature of consolation. Written in precise and exacting prose, with remarkable insight and grace this book will form kind counsel to all those living on in the wake of grief. A modern-day counterpart to C. S. Lewis's A Grief Observed.Published widely for the first time, this revised edition features a brand new introduction by Max Porter, author of Grief is A Thing With Feathers.'Her writing is perfectly weighted, justifies its existence' - Guardian

Steve Ely

Zaffar Kunial

Warsan Shire

John Glenday

Poetry Society

The Pity

'Wide-ranging, sometimes anguished, her poems are fascinating and often beautiful, and certainly more than usually thought-provoking.' Guardian Denise Riley has pursued her singular path with a determined disregard for poetic fashion: a poet of immense musical gifts and formal skill, as happy in traditional forms as experimental, her non-alignment with any 'tribe' has led to a rich and various poetry that, while densely allusive and intellectually uncompromising, remains emotionally open towards the reader at the most profound level. Say Something Back, her lyric meditation on bereavement, won Riley universal acclaim - and a wide and long-deserved readership. Her Selected Poems offers a generous overview of a working life which has taken in philosophy, feminism, literary history, song and aphorism - and within which the old certainties are interrogated and shaken at every turn. Hers is a voice through which we come to better understand one another, the meaning of our time here, and the nature of human communication itself.

Selected Poems

The Penguin Modern Poets are succinct, collectible, lovingly-assembled guides to the richness and diversity of contemporary poetry, from the UK, America and beyond. Every volume brings together representative selections from the work of three poets now writing, allowing the seasoned poetry lover and the curious reader alike to encounter our most exciting new voices. Volume 6, Dark Looks, features the work of Maggie Nelson and Claudia Rankine, the two American poets who, in hybrid books bridging the divide between poetry, lyric prose, life-writing and theory such as Bluets, The Argonauts, Don't Let Me Be Lonely and Citizen, have transformed the literary landscape over the last 15 years, alongside that of Denise Riley, who for decades has been exploring closely related concerns - motherhood; identity and oppression; loss; the language and words that build, or assault, our selves - as one of the best-kept secrets of British poetry, now fittingly recognized by a string of shortlistings and awards. These are writers who combine deep thought with deep feeling to illuminate our world, how we suffer in it, how we resist it, and how we can live with and love it.

Die Deeper into Life

In this extended meditation on the language of the self within contemporary social politics, the author ponders the question: What does it matter what you say about yourself? She studies why the requirement to be a something-or-other should be so hard to satisfy in a manner that rings true in the ears of its own subject.

Identification, Solidarity, Irony

The Words of Selves

Language as Affect

Impersonal Passion

A brilliant outing from one of the finest poets currently working in the English language. This is at once a sharply political and deeply personal book which explores just that intersection. ‘Wide-ranging, sometimes anguished, her poems are fascinating and often beautiful, and certainly more than usually thought-provoking’ Guardian

Lurex

Denise Riley has pursued her singular path with a determined disregard for poetic fashion: a poet of immense musical gifts and formal skill, as happy in traditional forms as experimental, her non-alignment with any ‘tribe’ has led to a rich and various poetry that, while densely allusive and intellectually uncompromising, remains emotionally open towards the reader at the most profound level. Say Something Back, her lyric meditation on bereavement, won Riley universal acclaim – and a wide and long-deserved readership. Her Selected Poems offers a generous overview of a working life which has taken in philosophy, feminism, literary history, song and aphorism – and within which the old certainties are interrogated and shaken at every turn. Hers is a voice through which we come to better understand one another, the meaning of our time here, and the nature of human communication itself. ‘Wide-ranging, sometimes anguished, her poems are fascinating and often beautiful, and certainly more than usually thought-provoking.’ - Guardian

A brilliant outing from one of the finest poets currently working in the English language.

Writing about changes in the notion of womanhood, Denise Riley examines, in the manner of Foucault, shifting historical constructions of the category of "women" in relation to other categories central to concepts of personhood: the soul, the mind, the body, nature, the social. Feminist movements, Riley argues, have had no choice but to play out this indeterminacy of women. This is made plain in their oscillations, since the 1790s, between concepts of equality and of difference. To fully recognize the ambiguity of the category of "women" is, she contends, a necessary condition for an effective feminist political philosophy.

Feminism and the Category of ‘Women’ in History

‘Am I That Name?’

For the last twenty-five years, Language, Discourse, Society has been the most intellectually challenging series in English. Its titles range across the disciplines from linguistics to biology, from literary criticism to law, combining vigorous scholarship and theoretical analysis at the service of a broad political engagement. This anniversary reader brings together a fascinating group of thinkers from both sides of the Atlantic with an introductory overview from the editors which considers the development of theory and scholarship over the past two decades.

The Language, Discourse, Society Reader

A moving meditation on grief and motherhood by one of Britain's most celebrated poets. The British poet Denise Riley is one of the finest and most individual writers at work in English today. With her striking musical gifts, she is as happy in traditional forms as experimental, and though her poetry has a kinship to that of the New York School, at heart she is unaligned with any tribe. A distinguished philosopher and feminist theorist as well as a poet, Riley has produced a body of work that is both intellectually uncompromising and emotionally open. This book, her first collection of poems to appear with an American press, includes Riley’s widely acclaimed recent volume Say Something Back, a lyric meditation on bereavement composed, as she has written, “in imagined solidarity with the endless others whose adult children have died, often in far worse circumstances.” Riley’s new prose work, Time Lived, Without Its Flow, returns to the subject of grief, just as grief returns in memory to be continually relived.

Say Something Back & Time Lived, Without Its Flow

A collection of essays and some related poems by almost 30 contemporary poets who have worked for years outside the "mainstream" of British publishing. Many are or have been small-press publishers and editors too.

Britain, 1970–1991

Poets on Writing

Denise Riley is renowned as a feminist theorist and a poet and for her remarkable refiguring of familiar but intransigent problems of identity, expression, language, and politics. In Impersonal Passion, she turns to everyday complex emotional and philosophical problems of speaking and listening. Her provocative meditations suggest that while the emotional power of language is impersonal, this impersonality paradoxically constitutes the personal. In nine linked essays, Riley deftly unravels the rhetoric of life’s absurdities and urgencies, its comforts and embarrassments, to insist on the forcible affect of language itself. She teases out the emotional complexities of such quotidian matters as what she ironically terms the right to be lonely in the face of the imperative to be social or the guilt associated with feeling as if you’re lying when you aren’t. Impersonal Passion reinvents questions from linguistics, the philosophy of language, and cultural theory in an illuminating new idiom: the compelling emotion of the language of the everyday.

Denise Riley

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