Fleur Adcock is one of Britain`s most accomplished poets. Her poised, ironic poems are tense & tightly controlled as well as shrewdly laconic, & often chilling as she unmasks the deceptions of love or unravels family lives. Disarmingly conversational in style, they are remarkable for their psychological insight & their unsentimental, mischievously casual view of personal relationships. Born in New Zeal&, she has explored questions of identity & rootedness throughout her work, both in relation to her personal allegiances to her native & adopted countries as well as her family history, whose long-dead characters she brings to life. She has also written movingly of birth, death & bereavement, & has tackled political issues with honest indignation & caustic wit. This first Collected edition of her poetry replaces her Selected Poems, with the addition of work from her later Oxford collections The Incident Book, Time-Zones & Looking Back. All her most celebrated poems are here, from the highly entertaining ` Against Coupling`, ` Smokers For Celibacy` & ` The Prize-Winning Poem` to modern classics such as ` The Ex-Queen Amongst the Astronomers` & ` Things`
- as well as the notorious one about kissing John Prescott ` Adcock has a deceptively laid-back tone, through which the sharper edge of her talent is encountered like a razor blade in a peach` Carol Ann Duffy, Guardian ` Most of Fleur Adcock`s best poems have something to do with bed: she writes well about sex, very well about illness, & very well indeed about dreaming Her imagination thrives on what threatens her peace of mind, & only when she is unguarded can these threats have their full creative effect. Hence the importance of bed: it is the place where the elegant artful barriers that she builds from day to day are most easily over-thrown Throughout her writing life, she has made a fine art from holding on to principles of orderliness & good clear sense; but she has made an even finer one from loosening her grip on them` Andrew Motion, TLS ` Adcock`s reputation has been founded on her spare, conversational poems, in which the style is deceptively simple, apparently translucentthose who see in such poems only flatness are missing the power of a voice which teases both reader & subject` Jo Shapcott, TLS