Time Lived Without Its Flow
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Time Lived, Without Its Flow
'One of the most eloquent thinkers about our life in language' The Sunday Times Time Lived, Without Its Flow is a beautiful, unflinching essay on the nature of grief from critically acclaimed poet Denise Riley. From the horrific experience of maternal grief Riley wrote her celebrated 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. 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 since its original limited release, this revised edition features a special introduction by Max Porter, author of Grief is A Thing With Feathers. 'Her writing is perfectly weighted, justifies its existence' - Guardian
Say Something Back and Time Lived, Without Its Flow
‘She’s one of the best poets around’ – Andrew Motion, former Poet Laureate of the United Kingdom Part poetry collection, part consolation, Say Something Back and Time Lived, Without Its Flow collects Denise Riley’s moving documents of loss and grief together for the first time. Rocked by the horrific experience of maternal grief, Denise Riley wrote the much-celebrated Say Something Back, in which the poet-philosopher contemplates the natural world and physical law, and considers what it means to invoke those who are absent. These are poems which expand our sense of human speech and what it can mean, of what is drawn forth from us when we address our dead. These lyric poems and elegies are accompanied by the beautiful, unflinching Time Lived, Without Its Flow. Diary entries written after receiving news of her adult son’s death are woven into a life portrait of loss. A ruminative post-script to these diaries follows, in which Riley examines the experience with a philosopher’s precision, mapping through it a literature of consolation. Published in a single volume for the first time, Say Something Back and Time Lived, Without Its Flow offers with remarkable grace and insight kind counsel to all those living in the wake of grief.
Discrepant Solace
Author: David James
language: en
Publisher: Oxford University Press
Release Date: 2019-05-23
Consolation has always played an uncomfortable part in the literary history of loss. But in recent decades its affective meanings and ethical implications have been recast by narratives that appear at first sight to foil solace altogether. Illuminating this striking archive, Discrepant Solace considers writers who engage with consolation not as an aesthetic salve but as an enduring problematic, one that unravels at the centre of emotionally challenging works of late twentieth- and twenty-first-century fiction and life-writing. The book understands solace as a generative yet conflicted aspect of style, where microelements of diction, rhythm, and syntax capture consolation's alternating desirability and contestation. With a wide-angle lens on the contemporary scene, David James examines writers who are rarely considered in conversation, including Sonali Deraniyagala, Colson Whitehead, Cormac McCarthy, W.G. Sebald, Doris Lessing, Joan Didion, J. M. Coetzee, Marilynne Robinson, Julian Barnes, Helen Macdonald, Ian McEwan, Colm Tóibín, Kazuo Ishiguro, Denise Riley, and David Grossman. These figures overturn critical suppositions about consolation's kinship with ideological complaisance, superficial mitigation, or dubious distraction, producing unsettling perceptions of solace that shape the formal and political contours of their writing. Through intimate readings of novels and memoirs that explore seemingly indescribable experiences of grief, trauma, remorse, and dread, James demonstrates how they turn consolation into a condition of expressional possibility without ever promising us relief. He also supplies vital traction to current conversations about the stakes of thinking with contemporary writing to scrutinize affirmative structures of feeling, revealing unexpected common ground between the operations of literary consolation and the urgencies of cultural critique. Discrepant Solace makes the close reading of emotion crucial to understanding the work literature does in our precarious present.