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Recent years have seen the arrival of new approaches to writing about landscape. Partly to do with new eco-sensibilities, this is however also due to a realisation that "landscape writing" need not be confined to literary tourism, or the verbal equivalent of chocolate-box imagery, and to the injection of radical poetic styles. The Ground Aslant is the first volume to engage with this new wave of writing, and presents the work of Tony Baker, Elisabeth Bletsoe, Thomas A. Clark, Ian Davidson, Mark Dickinson, Mark Goodwin, Nicholas Johnson, Peter Larkin, Helen Macdonald, Wendy Mulford, Frances Presley, Peter Riley, Colin Simms, Zoë Skoulding, Harriet Tarlo, Carol Watts.

A woman sits in prayerful meditation, waiting to offer her first confession in more than thirty years. She holds a small book on her lap, one that she’s made, and tells herself again the Bible stories it contains, the ones she has written anew, for herself, each story told aslant, from Jonah to Jesus, Moses to Mary Magdalen. Woven together and stitched by hand, they provide a new version, virtually a new translation, of the heart of this ancient and sacred text. Rakow's Bernadette traces, through each brief and familiar story, a line where belief and disbelief touch, the line that has been her home, ragged and neglected, that hidden seam.The result is an amazing book of extraordinary beauty, so human and humorous, and yet so holy it becomes a work of poetry, a canticle, a song of lament and praise. In the private terrain of silence and devotion, shared with us by a writer of power and grace, Rakow offers, through Bernadette, her own lectio divina for the modern world.No reader will forget this book or be able to read the Bible itself without a new perspective on this text that remains, arguably, Western civilization's greatest literary achievement.

A woman sits in prayerful meditation, waiting to offer her first confession in more than thirty years. She holds a small book on her lap, one that she’s made, and tells herself again the Bible stories it contains, the ones she has written anew, for herself, each story told aslant, from Jonah to Jesus, Moses to Mary Magdalen. Woven together and stitched by hand, they provide a new version, virtually a new translation, of the heart of this ancient and sacred text. Rakow's Bernadette traces, through each brief and familiar story, a line where belief and disbelief touch, the line that has been her home, ragged and neglected, that hidden seam.The result is an amazing book of extraordinary beauty, so human and humorous, and yet so holy it becomes a work of poetry, a canticle, a song of lament and praise. In the private terrain of silence and devotion, shared with us by a writer of power and grace, Rakow offers, through Bernadette, her own lectio divina for the modern world.No reader will forget this book or be able to read the Bible itself without a new perspective on this text that remains, arguably, Western civilization's greatest literary achievement.

Clean softcover, french flaps, light shelfwear to extremities. No interior marks. Warp to lower corner at fore-edge (aslant). Two texts, artist's book by Graham Dolphin.

This one is Super-Parker. I am in awe of Stark's (Donald Westlake) skills at placing the entire action in a closed-for-the-season amusement park with only one exit. Parker is trapped not only by crooked cops, but the bad guys as well. What a kaleidoscope of rides, color and strange machinery! Yet it is all aslant. Rather than crowds and summertime weather, it is empty, cold and bleak. The tension never lets up. Will the bad guys find Parker's stash? Will they corner him? Can he pull another trick out of his bag? Will the scaffolding hold? I am always baffled when people complain of lack of characterization in Parker novels. To me, the beauty is being right inside Parker's head when he meticulously plans his heists, revenge, and plans. True, we never read of honor, sensitivity, introspection, and love for the very good reason Parker possesses none of these traits. I always think Parker would be a totally successful CEO of a giant corporation if he had taken up another line of work. "Slayground" is vintage Parker, hard-boiled, violent and as perfectly crafted as a fine watch. /BEST VALUE ON THIS VINTAGE BOOK /FAST SERVICE/OUTSTANDING CUSTOMER SERVICE/

A remarkable hybrid of translation, adaptation, and inventionPicture the east Aegean sea by night,And on a beach aslant its shimmering Upwards of 50,000 menAsleep like spoons beside their lethal Fleet. “Your life at every instant up for― / Gone. / And, candidly, who gives a toss? / Your heart beats strong. Your spirit grips,” writes Christopher Logue in his original version of Homer’s Iliad, the uncanny “translation of translations” that won ecstatic and unparalleled acclaim as “the best translation of Homer since Pope’s” (The New York Review of Books). Logue’s account of Homer’s Iliad is a radical reimagining and reconfiguration of Homer’s tale of warfare, human folly, and the power of the gods in language and verse that is emphatically modern and “possessed of a very terrible beauty” (Slate). Illness prevented him from bringing his version of the Iliad to completion, but enough survives in notebooks and letters to assemble a compilation that includes the previously published volumes War Music, Kings, The Husbands, All Day Permanent Red, and Cold Calls, along with previously unpublished material, in one final illuminating volume arranged by his friend and fellow poet Christopher Reid. The result, War Music, comes as near as possible to representing the poet’s complete vision and confirms what his admirers have long known: that “Logue’s Homer is likely to endure as one of the great long poems of the twentieth century” (The Times Literary Supplement).

An exploration of love and loss by the renowned Costa Award–winning poetYou lived at such speed that the ballpoint script running aslant and fadingacross the faded bluecan scarcely keep up. Many words are illegible. I missimportant steps. Your movements blur. I want to follow, but can’t.A Scattering is a book of lamentation and remembrance, its subject being Christopher Reid’s wife, the actress Lucinda Gane, who died of cancer at the age of fifty-five. First published in the UK in 2009 to wide acclaim, winning the Costa Book of the Year, this moving and fiercely self-reflective collection is divided into four poetic sequences. The first was written during a holiday a few months before Gane’s death with the knowledge that the end was approaching; the second recalls her last courageous weeks, spent in a hospice in London; the third continues the exploration of bereavement from a variety of perspectives; and the fourth addresses her directly, celebrating her life, personality, and achievements. Paired for the first time with Anniversary, which was written to commemorate the tenth anniversary of Gane’s death, A Scattering and Anniversary brings the poet into dialogue, again, with the wife he loved. A moving exploration of the stages of grief and how the “weighty emptinesses” that remain after bereavement change us, A Scattering and Anniversary shows us what it means to love, lose, and―forever changed―continue on.