New and Selected







The poems do not merely dramatize a loss or suffering, they embroil, assault, challenge the reader at every turn. Part of Liardet’s craft is to keep changing the lens, especially in terms of address and angle, to allow some form of communication with the ‘untalkative’ dead. The resultant poems reverberate and fascinate, as in the aftermath of trauma. We feel the two movements of tragedy; the movement towards the victims—the pity, and the attempted movement away—the fear. There is also the consideration of the limits of language (‘the mouthful of words’, as it is put in the first poem and in the fifth sonnet of the sonnet sequence) and its relation to a noble silence in elegy. Liardet shows time and time again a struggle with language to move us away from any form of ‘solution’. He ranges over phenomena and situations that fuse psychological distress with the sensations and experiences of the world.

| Peter Carpenter, The London Magazine


Photo by Tomasz Milosz Radej


T.S Eliot Prize 2015: Carcanet

| Society of Authors Foundation Work-in-Progress Award, 2019

| Pushcart Nomination, 2018 (The World's First Photograph)

| T.S. Eliot Prize (Shortlist), 2015 (The World Before Snow)

| Poetry Book Pamphlet Choice, 2010, (Priest Skear)

| Pushcart Nomination, 2009, (The Storm House)

| Pushcart Nomination, 2008, (The Law of Primogeniture)

| T.S. Eliot Prize (Shortlist), 2006, (The Blood Choir)

| Poetry Book Society Recommendation, Summer 2006 (The Blood Choir)

| Arts Council Writer's Award, 2003

| Poetry Business Book and Pamphlet Competition Winner, 2003 (The Uses of Pepper)

| Poetry Book Society Recommendation, Spring 2003 (To the God of Rain)

| Hawthornden Fellowship, 2002

| Royal Literary Fund Award, 2000

| Whitbread Poetry Prize Longlist, 1999

| Poetry Book Society Special Commendation, Spring 1998 (Competing with the Piano Tuner)

| Society of Authors Writer's Award, 1996-7






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