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These poems explore further and future ways of plants and trees, and won't duck from being permeated at the same time by irradiating horizons or tensile symbols which perform a vital role in any multi-dimensional inter-relations. 'This is not a poetry about trees, but about trees as a means of thinking, the material through which we can and do think, a world, its ontology, its epistemology too. The tree as discourse. The tree as perceiver of what the tree needs to know.' -Stephen Collis ""Peter Larkin is one of the most important poets writing today. His career, mapped across his six collections of poetry, ten pamphlets, as well as a monograph and several critical articles, spans a period rich with poetic innovation and change. Echoes from the work of the Imagists, Black Mountain poets, Language poets, British Poetry Revival poets, and 'radical landscape' poets resonate in a wholly new kind of verse, ecological and religious, scarce and abundant, oblique and material."" -E.J. Mason ""Larkin challenges the conventions of traditional 'nature' poetry. He does not see 'nature' as providing a straightforward sense of belonging, or of nurture. What is available to us is more like a hint of something given but only scarcely, something which remains beyond our reach or comprehension."" -Simon Collings

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9781848619739

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""I was born in the New Forest and spent my first 17 years only a few miles outside it, so that might account for something, both the proximity and the being outside. I decided I wanted to write about the age of 9, and aimed to write historical novels but wrote poems to while away the time until I was older. After Cambridge I did in fact write one long, semi-autobiographical novel (called In Place of Simon) which took me a number of years during the 70s but once having done it I realised it was mainly a poet's novel. It was never published though a few cyclostyled copies were produced, one of which has found its way into Cambridge University Library. My next novel didn't get beyond a series of 'interludes' within the narrative which I soon realised were more distinctive than any plot, and these became the germ of my first published poems, Enclosures, which came out in 1983. My writing has always operated between the margins of verse and prose, and this must reflect my early preoccupation with the novel, though concentrated sound and texture, internal half-rhyme or partial echo and word-permutation are basic to the fabric of what I write, however prosy in outline. My other concern has been with matters of landscape and ecology, often focusing on the predicament and analogical patterning of the woods and plantations which residually border our lives. Nearly all my working life has been spent as a librarian at Warwick University which has proved a wonderfully enabling scenario of attachments and detachments so far as my poetry goes. The prose character of much of my writing (though nearly always broken up into very short paragraphs, sometimes with verse tail-pieces) may also reflect my fascination with longer forms, with the possibility of exploring underlying phenomenological and theological 'arguments' in the mode of continuously noted variations and takes on 'outdoor' perception."" (Peter Larkin)

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