Burning Babylon
2010년 9월 · Random House
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In his first two collections - Soft Keys and Raising Sparks - Michael Symmons Roberts established himself as a lyric and dramatic poet with metaphysical concerns. In this new collection, those concerns are as strong as ever, but rooted in a specific place and time.
These poems describe the personal and public rise and fall of Greenham Common. The public story, as one of the most contentious missile bases of the cold war, ended with fences removed, buildings demolished, the base returned to common land. The private history emerges from the poet's own experience, as an adolescent living a mile away from Greenham Common at the height of its powers. That third community of locals - not the USAF or the peace camps - is finally given a voice in Burning Babylon.
This is war poetry, but from an undeclared war in which battle lines were unclear, secrecy was an obsession, and threat was the chief weapon. At the heart of it all was that real and mythic gated city - the base - which was both a key part of the poet's childhood landscape, and the prime nuclear target in Britain. This image of a huge, occult and lethal power latent behind wire in the middle of England has haunted the minds of a generation - just as the poems in this book will resonate long after it is laid aside.
These poems describe the personal and public rise and fall of Greenham Common. The public story, as one of the most contentious missile bases of the cold war, ended with fences removed, buildings demolished, the base returned to common land. The private history emerges from the poet's own experience, as an adolescent living a mile away from Greenham Common at the height of its powers. That third community of locals - not the USAF or the peace camps - is finally given a voice in Burning Babylon.
This is war poetry, but from an undeclared war in which battle lines were unclear, secrecy was an obsession, and threat was the chief weapon. At the heart of it all was that real and mythic gated city - the base - which was both a key part of the poet's childhood landscape, and the prime nuclear target in Britain. This image of a huge, occult and lethal power latent behind wire in the middle of England has haunted the minds of a generation - just as the poems in this book will resonate long after it is laid aside.
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Michael Symmons Roberts was born in Preston, Lancashire in 1963. His books of poetry have won many awards including the Forward Prize and the Costa Poetry Award for Drysalter (2013) and the Whitbread Poetry Prize for Corpus (2004). His Selected Poems was published by Cape in 2016. As a librettist, his work with composers has been performed in concert halls and opera houses around the world. The Sacrifice (for Welsh National Opera) with composer James MacMillan, won an RPS Award for Opera, and choral works Elliptics (for BBC Philharmonic) and The Anvil (for Manchester International Festival) with composer Emily Howard, were both nominated for Ivor Novello Awards. His non-fiction book Edgelands (with Paul Farley, 2011) won the Foyles Book of Ideas Award and the Jerwood Prize. He is an award-winning broadcaster and dramatist, Professor of Poetry at Manchester Metropolitan University and a Fellow of the Royal Society of Literature.
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