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Look We Have Coming to Dover!

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Even more intriguing is that this poem was published in 2007, almost a decade before the European Migration Crisis and numerous migrant controversies around the world and in the UK.

One example is “ Bedford van” which became a well known piece of British culture throughout the 20th century, including many wartime vehicles branded as “Bedford”. The title of the poem would immediately be intriguing to a reader because of the poorly phrased language and mix of tenses. This also enables a broad range of interesting comparative points with other poems from the ‘Poems of the Decade’ collection. Its rhythmical, phonetic delicacies offer a colourful insight into British-Asian culture and are an inspiration to read. Prow’d’ also creates a homophone, and therefore simultaneously suggests that the tourists are proud.He speaks -- or rather, his characters speak -- in a whole variety of voices: teenage Jaswinder who wishes she was black and chilled, querulous Kabba laying into his son's English teacher ('my boy, vil he tink ebry new/Barrett-home Muslim hav goat blood-party/barbeque? The poet uses words in whatever way seems to convey his meaning, regardless of whether this is ‘correct’, and subtly conveys extra layers of meaning. Alternatively it could be seen as further representation of cycles, perhaps arguing that changes in immigration are natural changes which should be expected.

A dramatic monologue spoken by a new immigrant to England, it portrays a group of immigrants' first years in the country—from their dangerous arrival, to their under-the-table jobs, to their wistful hopes for the future. When looking at the poem as a whole the changes in line length become clearer, with each stanza progressing from short lines to long lines, before restarting the cycle for the next stanza. Home to William Golding, Sylvia Plath, Kazuo Ishiguro, Sally Rooney, Tsitsi Dangarembga, Max Porter, Ingrid Persaud, Anna Burns and Rachel Cusk, among many others, Faber is proud to publish some of the greatest novelists from the early twentieth century to today. The structure of each stanza is identical, and if turned sideways resembles waves, forming a shape-poem.Conflict: As a result of these societal, cultural and identity differences, it is easy to see how there is potential for conflict as different groups and different ideologies are merged into this one poem. One interpretation of the specific use of five could be as a reference to the ‘five oceans’ of the world, which have all proved vital to traditional movement and travel over the centuries.

This could cause many different reactions, such as an immediate assumption that the poem is written by someone with a poor grasp of the English language, or that the idea of immigration is being mocked in some way. is the most acclaimed debut collection of poetry published in recent years, as well as one of the most relevant and accessible. I confess that most modern poetry makes my teeth ache with boredom because it's so earnest and glum and 'look-how-cleverly-I-put-that! Nagra also dramatises an uneasy nation, as one idea of England is replaced by another — the latter, Nagra’s vision, is uglier, with hostility to immigrants and pollution. Nagra's collections have won the Foward Prize for Best Individual Poem and Best First Book, the South Bank Show Decibel Award and the Cholmondeley Award.They can be seen from the start with the contrast between the arrival of the immigrant and the presence of the tourists. Nagra’s poem reflects the themes of Arnold’s poem, written a hundred years ago, where the he imagines the conflict and chaos that might result if the there was no religious basis to our society. The waves are “ministered,” meaning they obey the needs of the tourists while the immigrants have to fight against them to make any progress. The beauty of Matthew Arnold’s Dover Beach scene is contrasted with Nagra’s poem, in which the sea has ‘gobfuls’ in its ‘phlegmed water’ and the cliffs are crumbling and ‘scummed’.

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