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Of Mutability
Jo Shapcott's award-winning first three collections, gathered in "Her Poems 1988-1998", revealed her to be a writer of ingenuous, politically acute and provocative poetry, and rightly earned her a reputation as one of the most original and daring voices of her generation. In "Of Mutability", Shapcott is found writing at her most memorable and bold. In a series of poems that explore the nature of change - in the body and the natural world, and in the shifting relationships between people - these poems look freshly but squarely at mortality. By turns grave and playful, arresting and witty, the poems in "Of Mutability" celebrate each waking moment as though it might be the last, and in so doing restore wonder to the to the smallest of encounters.
64 pages, Hardcover
First published July 1, 2010
21 people are currently reading
379 people want to read
About the author
Jo Shapcott
24Ìýbooks17ÌýfollowersShe was an undergraduate at Trinity College, Dublin. She is Professor of Creative Writing at Royal Holloway College, University of London, where she teaches on the MA in Creative Writing. She is the current President of The Poetry Society.
Her Book: Poems 1988-1998 (2000), consists of a selection of poetry from her three earlier collections: Electroplating the Baby (1988), which won the Commonwealth Poetry Prize for Best First Collection, Phrase Book (1992), and My Life Asleep (1998), which won the Forward Poetry Prize (Best Collection). She has also won the National Poetry Competition twice. Together with Matthew Sweeney she edited an anthology of contemporary poetry in English, but gathered from around the world, entitled Emergency Kit: Poems for Strange Times (1996).
Jo Shapcott has worked with a number of musicians on collaborative projects. She has written lyrics for, or had poems set to music by, composers such as John McCabe, Detlev Glamert, Nigel Osborne, Alec Roth, Erollyn Wallen, Peter Wiegold and John Woolrich. Her poems were set to music by composer Stephen Montague in The Creatures Indoors, premiered by the London Symphony Orchestra at the Barbican Centre in London in 1997. From 2001-2003, during the BBC Proms season, she presented the weekly 'Poetry Proms' on Radio 3.
Her book Tender Taxes, a collection of versions of Rainer Maria Rilke's poems in French, was published in 2002. The Transformers, due for publication in 2010, is a collection of public lectures given by Jo Shapcott as part of her Professorship at Newcastle, and she is co-editor (with Linda Anderson) of a collection of essays about Elizabeth Bishop. Her translation, with Narguess Farzad, of Poems by Farzaneh Khojandi was published in 2008.
Her latest book of poems is Of Mutability, published in 2010, shortlisted for the Forward Poetry Prize (Best Poetry Collection of the Year) and overall winner of the 2010 Costa Prize.
In 2011 Jo Shapcott was awarded the Queen's Gold Medal for Poetry.
Her Book: Poems 1988-1998 (2000), consists of a selection of poetry from her three earlier collections: Electroplating the Baby (1988), which won the Commonwealth Poetry Prize for Best First Collection, Phrase Book (1992), and My Life Asleep (1998), which won the Forward Poetry Prize (Best Collection). She has also won the National Poetry Competition twice. Together with Matthew Sweeney she edited an anthology of contemporary poetry in English, but gathered from around the world, entitled Emergency Kit: Poems for Strange Times (1996).
Jo Shapcott has worked with a number of musicians on collaborative projects. She has written lyrics for, or had poems set to music by, composers such as John McCabe, Detlev Glamert, Nigel Osborne, Alec Roth, Erollyn Wallen, Peter Wiegold and John Woolrich. Her poems were set to music by composer Stephen Montague in The Creatures Indoors, premiered by the London Symphony Orchestra at the Barbican Centre in London in 1997. From 2001-2003, during the BBC Proms season, she presented the weekly 'Poetry Proms' on Radio 3.
Her book Tender Taxes, a collection of versions of Rainer Maria Rilke's poems in French, was published in 2002. The Transformers, due for publication in 2010, is a collection of public lectures given by Jo Shapcott as part of her Professorship at Newcastle, and she is co-editor (with Linda Anderson) of a collection of essays about Elizabeth Bishop. Her translation, with Narguess Farzad, of Poems by Farzaneh Khojandi was published in 2008.
Her latest book of poems is Of Mutability, published in 2010, shortlisted for the Forward Poetry Prize (Best Poetry Collection of the Year) and overall winner of the 2010 Costa Prize.
In 2011 Jo Shapcott was awarded the Queen's Gold Medal for Poetry.
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Displaying 1 - 30 of 63 reviews
January 26, 2018
This is one of those poetry collections that I come back to again and again. It is beautifully written and works on many levels. It is a book that I recommend to all my poetry students. It is about life and illness but is never sad or depressing, nor is it a "feel good" book, yet somehow it is imbued with beautiful positivity.
September 11, 2015
I've been buying poetry books over about the last 8 months, and this is the shortest book so far (just over 50 pages), but I think this might be one of my favourites. I was actually looking at it in the bookshop over a month or so, not really sure if it was worth it. Then I read the poem Scorpion, and that seemed so interesting that I had to buy it.
There's quite a lot of variation in style. Scorpion is 1 paragraph with 22 lines of sentences all starting with "I kill it because...", others are more traditional, and everything in between. The themes are loosely around death, nature, illness (not just her own - Something Unravelled, a very moving poem about an aunt who has dementia), and her recovery. This is obviously influenced by the author's experience of cancer, but it's a lot more universal than that.
There's quite a lot of variation in style. Scorpion is 1 paragraph with 22 lines of sentences all starting with "I kill it because...", others are more traditional, and everything in between. The themes are loosely around death, nature, illness (not just her own - Something Unravelled, a very moving poem about an aunt who has dementia), and her recovery. This is obviously influenced by the author's experience of cancer, but it's a lot more universal than that.
July 20, 2012
It was a book of transformations, of changes, and of growth. I liked one about the owl. I didn't like the one with the wee. 2.5/5
Read
June 24, 2022A Very! sharp piece I wasn’t sure how I’d be going in but I’m pleased she takes the stable float of the era (& which is retained by a certain other poet I read today) and intensifies, intricates it. Something like how Fiona Benson manages to achieve with great success later but Shapcott isn’t looking to be there. A lovely read & v accessible
April 12, 2023
I reread this for what I remembered as a strong cancer theme, having recently read another couple of collections that were incidental breast cancer memoirs. However, apart from the opening title poem and a few others, illness is not a major element. Most poignant re: death is "The Deaths," which starts "I thought I knew my death. / I thought he would announce / himself with all the little creaks / and groans you hear of". I also liked "Alternative," an absurd set of attempts to cure sleep phobia (a good pair with, two pages before, "The Bet," about trying to win a wager that she could "stay awake longer than / anyone else in our student house"); the equally surreal "Tea Death"; and a sequence about trees.
November 6, 2014
I must confess, I had never heard of Jo Shapcott before I bought this book (second hand for 53p, for a perfect condition hardcover no less, what a bargain!) but I'm very glad I gave her a try.
There are some truly wonderful poems in this collection - the standout being the first and one for which the collection is named, "On Mutability". I found this exceptionally moving, and was moved to tears.
There are some in the collection I found dell a little flat, but overall this is something I can see myself retuning to again and again.
There are some truly wonderful poems in this collection - the standout being the first and one for which the collection is named, "On Mutability". I found this exceptionally moving, and was moved to tears.
There are some in the collection I found dell a little flat, but overall this is something I can see myself retuning to again and again.
June 20, 2015
I found her just by accident through the "52 ways of looking at a poem" book and I wanted to read more of her poetry.
This small book with very special poems, each one a gem, is very dear to me whenever I seek for a strong female voice and like to be in London (even if only in my thoughts).
"Religion for girls" is one of my favs.
I also was pleased to find her in that great film "National Gallery" where she is reading one of her poems, another strong and inspiring piece of her work.
This small book with very special poems, each one a gem, is very dear to me whenever I seek for a strong female voice and like to be in London (even if only in my thoughts).
"Religion for girls" is one of my favs.
I also was pleased to find her in that great film "National Gallery" where she is reading one of her poems, another strong and inspiring piece of her work.
August 25, 2018
Massive, as far as contemporary poetry goes. ('What dyou mean it's on display in the front of the shop?')
Of water, London, transformation, plainness. It's a moderate book. Moderately sad, moderately whimsical, moderately vulgar (""), moderately modern, moderately transcendental. Good. Am I supposed to say this makes it ?
Of water, London, transformation, plainness. It's a moderate book. Moderately sad, moderately whimsical, moderately vulgar (""), moderately modern, moderately transcendental. Good. Am I supposed to say this makes it ?
June 4, 2016
I have to admit that the meaning of some of these poems did elude me and the word 'cells' seems to pop up every six words or so, but in spite of this it was an enjoyable collection. I liked the structure and brevity of the work, alternating between brief and punchy to lengthier and reverent with themes and tone that seemed to match in terms of thematics. At times the language was downright beautiful and it would be nice to see this collection within the context of Shapcott's entire oeuvre.
September 1, 2012
Jo Shapcott's poetry made me 'feel alive' as a poet. It redeemed my inner self. Simply put, it is one of the best books (in poetry) that I've read in a long long time.
Her poems are a delight to read and are very vivid.
A MUST READ for any budding poet.
Her poems are a delight to read and are very vivid.
A MUST READ for any budding poet.
April 1, 2023
I say littlest auntie, my very little auntie (because she is shrinking now, in front of me)
let me cook for you, a meal so wholesome and blimmin�
pungent with garlic you will dance on it and eat it through your feet
let me cook for you, a meal so wholesome and blimmin�
pungent with garlic you will dance on it and eat it through your feet
August 8, 2011
One of my favourite collections for a long time and perhaps Shapcott's best work yet.
Witty, sensuous, intelligent.
In places, breath-taking.
Witty, sensuous, intelligent.
In places, breath-taking.
February 3, 2012
The unstable body in the uncertain world.
June 9, 2016
Although these poems aren't explicitly about cancer, they deal with themes of change of disruption. Shapcott is one of the UK's foremost poets dealing with scientific themes.
January 1, 2015
I don't remember what
made me buy a book of poetry
by someone I'd never heard of.
I liked it, though.
Conversational in style;
pieces of London,
country,
trees,
bugs,
humans.
made me buy a book of poetry
by someone I'd never heard of.
I liked it, though.
Conversational in style;
pieces of London,
country,
trees,
bugs,
humans.
March 30, 2014
The title poem is kick-ass and worth the price of the whole collection.
May 8, 2014
A fresh new voice, reviewed by carol ann Duffy so I thought I would read a bit of work and was very impressed. Original and raw. Beautiful
June 15, 2015
A few gems here, but most were (for me) only mildly diverting.
September 27, 2016
In the main; incomprehensible - the type of poetry that gives modern poetry a bad name. May expand on this a little later.
June 9, 2017
Didn't always understand but I loved the use of language and the rhythm of the words.
August 29, 2022
while there was an odd poem or line throughout the collection that i liked i didn’t find this collection spoke to me much. that being said it was 7$ from a used book store so at least i can say i tried it.
November 7, 2020
There is no doubt here that Shapcott is a fine poet, however I wasn’t moved in the way I had expected to be by her theme of mortality.
January 4, 2021
i have a new favourite
"I kill it because we cannot stay in the same room."
"I kill it because we cannot stay in the same room."
April 15, 2024
I reread this regularly, a fantastic, blunt, honest collection of poetry that uses words like music. Excellent.
October 22, 2024
it's fine got some nice poems and lovely lines. some strong poems but imo not a strong collection
August 26, 2012
This collection holds both remarkable poems and not-quites, but that is my personal take. I'm not going to write a lit-crit review here, as I'm no longer a student and read this collection for pleasure and curiosity.
When Shapcott nails it, she really does. But there are a few that just don't quite do it for me here and that is a subjective view. I am being quite strict on this because Shapcott is a well-established name in British poetry and has a relatively high profile compared to many. There are times when I wish she had not quite whittled it down to a shining bone. There are other times when her punctuation is off for my ear. I may have cloth ears and she may be spot-on. I like a poem to startle me, or lead me astray, or make me think about a certain image long after I have finished reading - and there are poems here that do that effectively. But as a whole collection, I was not engrossed. There are chapbooks written by 'unknown' poets in my collection that take me on a dark ride into another world and I love them for it.
A few more poems would have helped too. This is another slender collection - I wish British poets particularly would put some meat on their collections. Then I would perhaps be more forgiving if each poem did not quite sing out. I'd be prepared to read and enjoy the ebb and flow. But there are so few poems in a slender collection like this and I don't think it's Shapcott to blame - I think poetry publishing has to have a re-think on hardbacks and chapbooks.
I borrowed this from my library - a very scant selection there - but I was pleased to find this as I do admire Shapcott and will look forward to reading more in the future.
When Shapcott nails it, she really does. But there are a few that just don't quite do it for me here and that is a subjective view. I am being quite strict on this because Shapcott is a well-established name in British poetry and has a relatively high profile compared to many. There are times when I wish she had not quite whittled it down to a shining bone. There are other times when her punctuation is off for my ear. I may have cloth ears and she may be spot-on. I like a poem to startle me, or lead me astray, or make me think about a certain image long after I have finished reading - and there are poems here that do that effectively. But as a whole collection, I was not engrossed. There are chapbooks written by 'unknown' poets in my collection that take me on a dark ride into another world and I love them for it.
A few more poems would have helped too. This is another slender collection - I wish British poets particularly would put some meat on their collections. Then I would perhaps be more forgiving if each poem did not quite sing out. I'd be prepared to read and enjoy the ebb and flow. But there are so few poems in a slender collection like this and I don't think it's Shapcott to blame - I think poetry publishing has to have a re-think on hardbacks and chapbooks.
I borrowed this from my library - a very scant selection there - but I was pleased to find this as I do admire Shapcott and will look forward to reading more in the future.
January 2, 2017
A friend gave this book when I was having chemotherapy for breast cancer last year (fortunately the treatment was highly successful). Spending five months on the strongest drugs Western medicine has to offer, it was hard to concentrate sometimes, but I took as my motto a line from Julia Darling’s poem ‘Chemotherapy�: ‘I have learned to drift and sip�. Thus in the stark nights of chemic insomnia I read poetry, sipping of its beauty and truth. This Costa Award-winning collection treats subjects ranging through breast cancer, war and modern architecture, Shapcott's deft allusive touch encompassing the world with airy room for the imagination to fly. The wonderful extended metaphor of ‘Uncertainty is a Not a Good Dog� - no, it rushes ahead and rolls in the mud! - helped me accept the new psychological terrain I had just entered. I can get a little frustrated (understatement!) with English understatement, but sometimes the problem is with readers, not the poet. The Guardian reviewer didn’t get the answer to Shapcott’s ‘Riddle�, which you didn’t need to have had chemotherapy to solve - it was placed opposite a poem called ‘Bald�. I would give this book five stars, but I felt it lacked some of the sharp political edge she is capable of in poems like 'Phrase Book'.
August 6, 2017
Having just read Helen Dunmore's excellent Inside the Wave and being reminded of the thematic overlap with Shapcott's outstanding 2010 collection of poetry, Of Mutability, I felt it necessary to revisit what is one of my 'all-time' poetry books. Many personal favourites within resonated still, yet also many gems including My Oak, Border Cartography and Religion for Girls seemed to stand out even more than they did previously. A slight read altogether with immense emotional heft.
I was on land, but the land didn't belong to earth any more, was allowed to rest
in floating patches here and there.
January 4, 2018
Jo Shapcott shows off her 'poetic prowess' with this collection of imaginative verse. It has everything you could want from a collection of poetry.
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Within 'Of Mutability' are poems utilising strong poetical forms and technical devices to create very powerful imagery.
Click here to read my full review...
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Within 'Of Mutability' are poems utilising strong poetical forms and technical devices to create very powerful imagery.
Click here to read my full review...
December 8, 2011
I'm never overly convinced when poems have scientific language shoehorned into them, but it's done quite naturally here for the most part. Well written collection and distinctive. I particularly enjoyed 'alternative' , 'myself photographed' and 'for summer'.
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