England's Green

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Highlights of the year include the Heaney-esque lyricism of British-Indian poet Zaffar Kunial's accomplished debut Us.' (Tristram Fane Saunders, Daily Telegraph, Books of the Year) El Socorro’ comes from the autobiographical collection Sonnets for Albert , Anthony Joseph’s fifth poetry collection. It follows Desafinado , Teragaton , Bird Head Son , and Rubber Orchestras . Beyond poetry Joseph has also written three novels, including the multi-award shortlisted Kitch: A Fictional Biography of a Calypso Icon . In 2022, the T. S. Eliot Prize (the most valuable prize for new poetry collections in the UK and Ireland) and Young Poets Network, The Poetry Society’s leading platform for poets aged up to 25, ran an exciting new collaboration to support the next generation of poetry reviewers: the Young Critics Scheme. Staring at an isolated word, or repeating it aloud, over and over, is a brain-game that can disrupt the cosiest family of letters, and sometimes suggest curious re-alliances. In this week’s poem, from Zaffar Kunial’s second collection, England’s Green, the word chosen for such an adventure is “ foxgloves”. Kunial begins by gently imagining the pleasure of hiding in the middle of his word, where “the xgl is hard to say”. It certainly is: I practised it when no one was listening, and made a sound part kiss, part hiss and part gulp. It sounded like a protest against “the England of its harbouring word”.

I was really excited by Gwendolyn Brooks’ Maud Martha – how so much was painted in so few words and with so much left out. Young Poets Network is a hugely important and innovative online meeting point for any young person with an interest in poetry – to share, to experiment and to expand their knowledge. It attracts large numbers of lively minded readers and writers with its features, challenges, competitions and resources, and we look forward to seeing and hearing how they respond to the T. S. Eliot Prize 2022 shortlist. We are very glad to be extending reviewing culture and opportunities through the Young Critics Scheme.”To help them develop their critical skills and create their review, the ten selected participants attended three online Young Poets Network masterclasses, one of which was led by acclaimed reviewer, editor and poet, Jen Campbell.

That’s the same middle where the West Indian Viv Richards can place his “feet exactly where [WG] Grace / played at fifty” (‘Innings’) Kunial’s style is a wise vernacular that Auden would have loved . . . Six is a pamphlet to read and re-read; its words are so plain and so well put together that you won’t realise until much later how permanently they’ve marked you, like a grass stain.' (Alex Hayden-Williams, Varsity) Ruth Awololais a long time reader, writer, appreciator and believer in the power of poetry. She has been performing her own poetry since 2015 and writes for a range of audiences including poetry for children. The ten Young Critics are: Ruth Awolola, Davina Bacon, Aliyah Begum, Noah Jacob, Abondance Matanda, Lily McDermott, Holly Moberley, SZ Shao, Mukisa Verrall and Eric Yip. What’s more English than a place name like ‘Bascote Heath, Little Itchington’ where we meet Kunial “armed with my mother’s maiden name” picturing the humanity behind the names. There’s an echo of Larkin’s “long uneven lines” as Kunial imagines the glorious dead “moving in one long continuous / column, four abreast …” which would stretch from Whitehall to Durham. Immediately he imagines the column in the pre-partition India, where his father was born into a Muslim family. Later in the book we see a wartime photo of his English grandfather next to “one of two brown” fellow airmen. This is the same grandfatherThey said Constructing a Nervous System was “wholly a deeply moving delight” and a “book unlike any other; a thrilling, generous, spirited and surprising read that remakes culture, redresses history, renews and repurposes everything it touches, and passes on these gifts of reinvention and renewal to everyone who’ll read it.”

These intersections are threefold. Firstly, Kunial’s brown skinned Englishness; secondly the two languages of his parents; and thirdly the facility with words of someone who has had to overcome a speech impediment. Let’s take a look at each. The first three poems of the collections are titled ‘Foxglove’, ‘Forget-Me-Not’, and ‘The Hedge’. This is England. We know where Kunial wants to be Kunial clearly delights in language, with wordplay and differing pronunciations fuelling "Foregrounds" et al. I particularly liked "Foxgloves" ("Sometimes I like to hide in the word / foxgloves - in the middle of foxgloves. The xgl is hard to say") and "The Wind in the Willows," where he wonders if the book title appeals to him just for its sound. Young Critics Davina Bacon and SZ Shao shares their experiences of the programme, and what they have been up to since, in the new videos below. You might also find the two features published on Young Poets Network as part of the 2022 Scheme helpful: How To Write A Poetry Review and 15 Top Tips From Leading Critics.Words like ‘motherland’, ‘fatherland’ and ‘Eng(er)land’ are too often brandished, drawn as weapons against some feared, or hated, other. Kunial disarms these words, polishes them, and sets them with the skill of a jeweller Rich in form and reverent references, Us transports the reader from the hills of Pakistan to the schoolgrounds of Stratford-upon-Avon, from George Herbert to The Lion, the Witch and the Wardrobe.' (Maria Crawford, Financial Times, BOOKS OF THE YEAR) Davina Baconis studying English and Environmental Science in Cornwall. In 2018, she won the BBC Young Writers’ Award and earlier this year, they had an article published in shado mag. They enjoy exploring ideas about identity, community, and the environment through short stories, poetry, and essays. The presence of two languages in Kunial’s childhood is the source of touching tales. In Us we encountered his childhood shame on hearing his father’s muddled syntax (in ‘The Word’) , and learnt that “[t]here is no dictionary for my father’s language” (from ‘Hill Speak’). Here we see him “wanting to correct or prune my father’s version / of Himalaya” (from ‘Foregrounds’) Constructing a Nervous System won the nonfiction category, while the fiction award was won by Michelle de Kretser for Scary Monsters. The poetry prize was taken by Victoria Adukwei Bulley for her debut collection Quiet.