2006   389 pages
paperback

"A writer of singular originality and integrity, Thomas Kinsella is essential reading, one of the most vital and important poets of the English language." Floyd Skloot, Sewanee Review

2006   389 pages
clothbound
Limited, signed, and numbered
First edition with plain vellum wrapper

“Kinsella is one of the finest poets of the last century, in Ireland or out of it.” Justin Quinn, Poetry Review

1979   159 pages
paperback

"We don't just overhear Kinsella; we watch him ritualize a process of radical understanding and remaking... Kinsella is a serious poet of invention and honesty." - John D. Engle, Parnassus

"Kinsella's poems are direct, immediate, colloquial as park-bench speech and, suddenly, moving." - Richard Tobias, University of Pittsburgh

1979   192 pages
clothbound
Rare & collectible

"A poet like the Irishman Thomas Kinsella, who engages thse worlds ably and bravely, can reach past surface charm and nostalgia to discovery.... [He] is among the true poets, not only of Ireland but among all who write in English in our day." M. L. Rosenthal, New York Times Book Review

2007   368 pages
clothbound
Limited, signed, and numbered
First edition with plain vellum wrapper

“I can’t think of a living poet who writes such incredible sonnets. ... He travels with ease from the Iliad to his local fields. ... It’s hard to tell if he’s a poet of regular life who is good at stumbling upon depth, or a deep poet who knows that the quotidian is precious. And it’s not clear that it matters.” Laurel Maury, The Los Angeles Times

2007   368 pages
paperback

“...a contemporary who should endure over the life of our language.” Donald Hall

“War--what it does to combatants and to their children--becomes a preoccupation throughout Longley’s work. ... Yet marital love and tenderness, domestic calm and pastoral counterpoise also stand among Longley’s signature subjects. ... Longley’s genius is pastoral and commemorative. ...” Publishers Weekly (starred review)

2004   64 pages
clothbound
Limited, signed, and numbered
First edition with plain vellum wrapper

"Snow Water marks a decisive moment in Longley's poetic development — as decisive, perhaps as that signalled by Gorse Fires.… Longley's war poetry can stand comparison with the best of its century; and Snow Water adds to the distinguished total, while also doing something radically new." The Guardian

2004   64 pages
paperback

"Whatever Longley attends to — whether war poetry revivified, the minutiae of the landscape he lives in, its flora and ornithology, or Homeric retellings — he describes with the same honoring accuracy. As for much of Irish poetry, the political is always part of the evocation. … [T]he poems are sometimes bird's-eye views of the garden or the 'fallen branches' upon which the birds come to rest. The suggestion of sturdiness and growth, rootedness and flourish, provides a fitting metaphor for these verses, which reveal a poet both prolific and wise, a heartening combination." Meg Tyler, Harvard Review

2000   80 pages
clothbound

Winner of the Irish Times Irish Literature Prize for Poetry, 2001
Winner of the T.S. Eliot Poetry Prize, 2001
Winner of the Hawthornden Prize, 2000

"Michael Longley's The Weather in Japan is the best book I have read this year and, although I have admired him for some time, I did not expect him to surpass himself.... Brilliant, and taking me back to earlier brilliance, [it] shocked me into understanding that the poet I had admired had quietly become — along with Seamus Heaney, say, and Geoffrey Hill — a contemporary who should endure over the life of our language." Donald Hall, Los Angeles Times Sunday Book Review

2000   80 pages
paperback

Winner of the Irish Times Irish Literature Prize for Poetry, 2001
Winner of the T.S. Eliot Poetry Prize, 2001
Winner of the Hawthornden Prize, 2000

"Michael Longley's The Weather in Japan is the best book I have read this year and, although I have admired him for some time, I did not expect him to surpass himself.... Brilliant, and taking me back to earlier brilliance, [it] shocked me into understanding that the poet I had admired had quietly become — along with Seamus Heaney, say, and Geoffrey Hill — a contemporary who should endure over the life of our language." Donald Hall, Los Angeles Times Sunday Book Review