Poems of the Decade: An Anthology of the Forward Books of Poetry

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A number of poems were removed from the prescribed list in 2017 for AS and A Level, meaning that you will not be examined on these poems. However, they act as a great option to use for practice essays and general Poems of the Decade revision, with analysis available to support your learning. International exams may still use these poems – confirm with your teacher. CD Wright could be on this list for any number of books she wrote in the last decade—which is saying a lot, considering she died far too early, in 2016. Even her posthumous meditation on the beech tree, Casting Deep Shade, could probably survive aggressive cross-genre shoehorning from lyric nonfiction to poetry.* So with that sort of inter-disciplinary invention in mind, I offer you Wright’s 2011 National Book Award finalist, One With Others, a book-length poem that could also be described as… lyric documentary? Agbabi, Armitage, Burnside, Duffy, Dunmore, Fanthorpe, Heaney, Motion, Nagra, O'Brien and more. Poems of the Decade brings together more than one hundred poems from the many thousands submitted to the Forward Prizes for Poetry in the first decade of the 21st century. The Forwards are among the world's most coveted poetry honours. They have been awarded annually since 1992 for the Best Collection, Best First Collection and Best Single Poem published in Britain and Ireland, and the roster of winning, shortlisted and highly commended poets regularly juxtaposes familiar canonical names with fresh voices. This anthology of anthologies draws on the ten Forward Books of Poetry published to accompany the prizes between 2001 and 2010. It is the perfect introduction to a wide range of contemporary poetry: works that speak of violence, danger and fear, of love and all that opposes love, in forms of language broken and reshaped by the need to communicate what it is to be alive now, here. These annual anthologies of the poems in the running for the Forward Prizes remain the best way of encountering the richness that new poetry has to offer. (Daily Telegraph) Poems of the Decade is a collection of poems from the first decade of the 21st century, published by the Forward Poetry Foundation. A selection of 20 of these poems has been chosen by Edexcel for the Poetry paper of the A Level specification.

How are transitions from different positions (crouching to standing, indoors to outdoors) used in an effective way? Even more interesting is the use of consonance on each corresponding line, for example the first line of each stanza has the “k” sound, “d” on the second and “t” on the third. The only point in which this is broken in the poem is at the end of stanza six, but even this is largely negated by the fact that the next word is “too” so therefore continues the overall consonance. These strong sounds once again evoke ideas of force and control, showing how important this is to the poem. Ocr tesseract 5.0.0-1-g862e Ocr_detected_lang en Ocr_detected_lang_conf 1.0000 Ocr_detected_script Latin Ocr_detected_script_conf 0.9740 Ocr_module_version 0.0.15 Ocr_parameters -l eng Old_pallet IA-NS-2000602 Openlibrary_editionThis is a book of movement that becomes deliberate in the very moment it occurs. It is a book of unapologetic wandering and unapologetic reflection. It is a beautiful collection, and is all the more beautiful for how it invites its readers to wander with it. – Jessie Gaynor, Social Media Editor

There is also the use of possessive language, such as “his” or even further objectification through the likening to objects, such as “his jacuzzi”. This would help to make the descriptions much more emotive for a reader who would recognise the strong objectification and mistreatment, therefore developing much more sympathy for the narrator. This in turn creates a strange mix of emotions by the end of the poem with the murder of the feeder, with readers potentially feeling happy that the woman has been freed but conflicted over the means of this escape. Use these questions to practice your essential essay writing skills, and consolidate your understanding of individual prescribed poems. The book is also artful, beautiful, sometimes funny, subtle when subtlety is required, razor sharp when that better suits her needs. It investigates memory and identity and the nature of narrative and self-doubt and self-expression. I don’t know anyone who has read it who was not profoundly moved by it. As Dan Chiasson put it in The New Yorker, “The realization at the end of this book sits heavily upon the heart: ‘This is how you are a citizen,’ Rankine writes. ‘Come on. Let it go. Move on.’ As Rankine’s brilliant, disabusing work, always aware of its ironies, reminds us, ‘moving on’ is not synonymous with ‘leaving behind.’” – Emily Temple, Senior Editor

- cyclical?

The semantic field of the body is notable throughout the poem, with examples typically drawn from two sources. The first is the physical descriptions of the girl and her friend, with a focus on describing different parts of her and what she is wearing. The second main source is through descriptions of their surrounding environment, such as the “warm flank of the house” and “eye of the street”. The humanising descriptions of these surroundings are interesting because they encourage the idea of onlookers to the scene, further increasing the sense of importance of these actions. It is the perfect introduction to a wide range of contemporary poetry: works that speak of violence, danger and fear, of love and all that opposes love, in forms of language broken and reshaped by the need to communicate what it is to be alive now, here. The selected poems cover a wide range of styles and subject matter, opening up plenty of material for discussion. It is often profitable to make connections between them, but in Edexcel Paper 3, students are asked to compare a previously unseen poem with one from Poems of the Decade . Don’t Call Us Dead is a collection both universal and highly personal, as, I think, all the best poetry is. But it also feels both of our present time and timeless, both defined by and defining. – Jessie Gaynor, Social Media Editor