Tim Liardet is a poet, a critic, and Professor of Poetry at Bath Spa University. He was born in London in 1959 and has produced eight collections of poetry to date.
Clay Hill, his first collection, appeared in 1988. Fellini Beach, his second collection, appeared in 1994. His third collection, Competing with the Piano Tuner, was a Poetry Book Society special commendation and long-listed for the Whitbread Poetry Prize in 1998; his fourth, To the God of Rain, a Poetry Book Society recommendation for Spring 2003. Liardet was awarded a Hawthornden Fellowship in 2002. He has reviewed poetry for such journals as The Guardian, Poetry Review, and PN Review and was poet-in-residence at The Guardian in 2006. The Blood Choir, his fifth collection, won an Arts Council England Writer's Award as a collection-in-progress in 2003, was a Poetry Book Society Recommendation for summer 2006, and was shortlisted for the 2006 TS Eliot Prize for the best collection of poetry for that year. "Priest Skear", a pamphlet that turns the drowning of the 23 Chinese cocklepickers in Morecambe Bay in 2004 into a political allegory, appeared in 2010 and was the Poetry Book Society pamphlet choice for winter 2010. The Storm House, his eighth collection, a book-length elegy for his brother who died young and in mysterious circumstances, appeared from Carcanet Press in June 2011. Madame Sasoo Goes Bathing, a pamphlet, will appear in 2013; his next full collection from Carcanet will appear in 2014, a New and Selected Poems, from the same publisher, in 2015.
Liardet has performed his work on BBC Radio Three and BBC Radio Four. He read at the Ars Interpres Festival, Stockholm, in 2007, and was visiting poet at the Internationales Literaturfestival Berlin in 2008. He has sat on various panels and delivered papers on contemporary poetry at the AWP Conference in New York City in 2008, in Chicago in 2009 and in Washington DC in 2011.
Strange how the dropped crockery does not break
nor reach the floor, and no one notices. Here in this place
of locked cells and of lines kept reassuringly straight
...
Because wasps disregard the razors of the prison fence
when they drift indoors, drawn
by the confusion of odours
...
Outside Florence's walls in the hissing grass
the olive-pickers snooze, under the olives;
...
Body and world were never the place
for you to live in. There was climbing, though,
climbing not out of the body but out of world -
in the fork of the tree, so high up it seemed
you'd already got to the sky and I was gravity
in your shoes. I kept you upright by somehow
contriving to be the counterweight far below
as long as you swayed up there. And as your arm went up
mine sort of pistoned down. As your arm reached down
mine was slowly raised, Dodya, and you started back
towards earth with caution, a kind of guardianship
exercised by every nerve tensed for falling
in your body, and placed the sky-egg carefully
between your teeth; you placed it there so tenderly
and eased yourself down backwards as if you were
responsible for bringing down to safety
the rarest and most susceptible outer shell
of life's longing for itself — so pristine and so sky-blue,
perfect, but for the faintest freckles of blood:
don't fall, I shouted up to you, don't fall, don't fall . . .
Now you fall through time, if not through time and space;
and the darkened freckles survive, are everywhere.
They are on your hands, on mine. They are on your shoes.
They were on our mother's wedding dress before you were born.
...
Through what might be
the earpiece
or some grainier,
more primitive
instrument, brother,
or perhaps
the miracle
of the auditory
nerve, summoning
some signal,
a ruched pinhead
of decibels,
I imagined I might
be able
to hear your voice -
it would be faint
and strange,
belonging
as it does now
to another age,
the pauses
between it
prolonged by the whelm
of distance,
the static of water:
instead, the
soft voicemail
kicks in to say
you are
unavailable
to talk.
I had something
to say, I had
something
to say, I say
to the tape-hiss.
...