James Womack

Why Are You Shouting?, James Womack's fourth Carcanet collection, thinks about two things in particular: our struggle as individuals to find connections between ourselves, with friends, family and lovers, and the efforts we make as groups to connect to the environment we live and die in. Written in the shadow of the climate crisis and the pandemic years, the poems set out to find points of hope and solidarity, against a common backdrop of disruption and collapse to which we are often wilfully blind. Alongside these concerns runs a narrative of personal blindness and self-enchantment, a willingness to allow oneself to be misled in order to have a quiet life. If the collection's title suggests that raising one's voice is the readiest way to reach other people, the poems themselves dare to offer quieter solutions, too: there is space for humour and kindness, even a degree of positive thinking about the state the world is in. The ghost of Cassandra, the Trojan princess given the gift of prophecy but condemned to have no one believe her words, haunts the collection: her life is a warning, but also an antidote to willed ignorance.'The God of whom I speak is dead. I did my makeup in a disco ball. I looked at the whole magnificentcreation of the Lord, and asked,sadly, "Is it cake?"'

Complete and uncensored in English for the very first time, a fragmented, daringly irreverent depiction of decadence and decay in Franco's Spain written by the 1989 winner of the Nobel Prize in Literature. The translator Anthony Kerrigan compared Camilo Jos Cela, the 1989 winner of the Nobel Prize in Literature, to Louis-Ferdinand C line and Curzio Malaparte--all "ferocious writers, truculent, badly spoken, even foulmouthed." However provocative and disturbing, Cela's novels are also flat-out dazzling, their sentences as rigorous as they are riotous, lodging like knives in the reader's mind. Cela called himself a proponent of "uglyism," of "nothingism." But he has the knack, to quote another critic, Am rico Castro, of deploying those "nothings and lacks" to construct beauty. The Hive is set over the course of a few days in the Madrid of 1943, not long after the end of the Spanish Civil War, when the regime of General Francisco Franco was at its most oppressive. The book includes more than three hundred characters whose comings and goings it tracks to hypnotic effect. Scabrous, scandalous, and profane, The Hive is a virtuosic group portrait of a wounded and sick society.

O berezhlivom proizvodstve (lean production) - proryvnom podkhode k menedzhmentu i upravleniju kachestvom, obespechivajuschem dolgovremennuju konkurentosposobnost bez suschestvennykh kapitalovlozhenii. Pionerom etogo podkhoda stala kompanija Toyota, kotoraja blagodarja ego ispolzovaniju dostigla vydajuschikhsja rezultatov. OsobennostiBerezhlivoe proizvodstvo - eto bez preuvelichenija glavnoe, chemu stoit nauchitsja u japontsev v oblasti upravlenija. Etot metod dolzhen znat kazhdyj rukovoditel nezavisimo ot otrasli, ved ego osnova zakljuchaetsja v borbe s poterjami. Eta kniga stala mezhdunarodnym bestsellerom, perezhila mnozhestvo pereizdanij. Kniga napisana obstojatelno, jasno i soderzhit ne tolko opisanie teorii, no i mnogo primerov iz opyta veduschikh kompanii SSHA, Germanii i Japonii.

Homunculus is a long poem from award-winning poet and translator James Womack, based around the Elegies of the Roman poet Maximian. The last of the Roman poets, Maximian wrote in the sixth century, after the fall of the Western Roman Empire; critics have called his Elegies 'one of the strangest documents of the human mind', and W. H. Auden singled him out as a 'really remarkable poet'. Womack's versioning of the Elegies shows how this harsh poem of sex and old age can speak to our own contemporary, collapsing world.

Shortlisted for the 2019 Ledbury Forte Poetry Prize for Second Collections. Longlisted for the 2018 International Dylan Thomas Prize. On Trust: A Book of Lies, James Womack's second collection of poems, is organised around the notion of telling the truth. Working against ideas of poetry as a vehicle for displaying individual truths or unprocessed confessions, these poems play hilariously, earnestly, undecidedly, with such simple identifications as the `I' of a poem with the `I' of the poet, offering us monologues which seem to be sincere, unvarnished accounts of things that have `really' happened, but which twist and escape any absolute statements of identity. Serious questions of being and belonging, as well as frivolous themes such as the Marquis de Sade, Siberia, genitals, the Fates, and death, are picked up in play, prodded at, then put down in new and sparkling configurations.

After his son Pablo dies before his second birthday from a rare and aggressive form of infant leukemia, the author writes this poignant account of unending love and hope. The foreword is its best description: "This book is a dictionary with a single entry. It is the search for a word that does not exist in my language-the word for a parent who has watched his child die. Children who lose their parents are orphans, and those who have to close their spouse's dead eyes are widows and widowers. But we, the parents who sign the documents authorizing our children's funerals, we have no name, no civil status. We remain parents forever. Parents to a ghost who does not grow, a ghost whom we will never pick up from school, who will never fall for a girl, who will never go to college, who will never leave home. A child who will never upset us and whom we will never have to scold. A child who will never read the books we dedicate to him. The fact that there is no word to describe us means we are condemned to live always in a violet hour. Our watches have not stopped, but they display the same time again and again. Whenever it seems that the second hand will force the hour hand to make the leap forward, instead it slips back again to where it started. We are stuck in no-man's time, stuck in our own redundancy, within which we call up this fantastic and unlikely story, this cheap tragedy filled with all the tricks of an inexperienced screenwriter, the story that trapped us here in the first place. I evoke it in writing. I recall this year of my life in the hope of fixing the story in place, of making sure it never shrinks into a cliche. My son Pablo was ten months old when he was first admitted to the hospital, and was nearly two when we scattered his ashes. It is this stretch of time that makes up our violet hour. It is this stretch of time that makes up this book, which contains all the words I need to give a name to my condition."

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‘The only end of writing,’ Dr Johnson said, ‘is to enable the readers better to enjoy life, or better to endure it.’ Misprint offers the reader countries and languages perceived through the eyes of youth and loss. Untimely deaths and memories of far-off lands abound, some dreamed, some lived. In this first collection, James Womack plays with ideas of tradition, lightly conjuring heavy themes, and makes a bow to pulp culture. He ferries us between Russia, Spain and North Korea and the differently ‘real’ virtual environments of film, dream, ghosts, the North Korean Press Agency. ‘Eurydice’, the concluding sequence, draws the different strands of the collection together. We end up dislocated: bewildered but rather happier about the future. As Mr Edwards said to the Great Cham: ‘I, too, Sir, in my time have tried being a philosopher; but somehow cheerfulness kept creeping in.’

Examines Japan's innovative, highly successful production methods