Earthshine was named the PBS Summer Pamphlet Choice.
Mimi Khalvati was a co-winner with David Morley of the 1989 Book & Pamphlet Competition with Persian Miniatures.
Since then, she has published seven collections with Carcanet Press, including The Meanest Flower (2007), which was a Poetry Book Society Recommendation, a Financial Times Book of the Year and shortlisted for the TS Eliot Prize. Her most recent collection, Child: New and Selected Poems 1991-2011 is a Poetry Book Society Special Commendation.
Mimi is the founder of The Poetry School, where she teaches, and co-editor of three anthologies of new writing from The Poetry School published by Enitharmon Press. She has held fellowships with the Royal Literary Fund, the International Writing Program in Iowa and was Poet in Residence at The Royal Mail. Her awards include a Cholmondeley Award from the Society of Authors, a major Arts Council Award and she is a Fellow of the Royal Society of Literature.
"Written around the time of my mother’s death, these poems take the day’s weather as a starting-point before spinning off in their own directions. They express the effects of weather on my mood and imagination and a desire to reconnect with the animal self — several are about small creatures, mostly real, some imaginary. The only person, apart from the speaker, that appears in these poems is the figure of my mother. Her absence, echoing her absence in my childhood, seems now, as then, to have intensified my relationship with the natural world — the huge presences of sky, stars, sun, moon, and the smaller presences of flora and fauna. By way of elegising my mother’s death, I celebrate these living companions. Although they have a sad undertow, I hope the poems are light and playful without denying the dark and dangers in the wider world." — Mimi Khalvati, 2013
'In classic elegy, the lost beloved returns in the form of a spirit that quickens the natural world. So it is here, in a sequence of engraved vignettes drawn from a verse memoir that dispenses with extraneous facts. In their place, we find intimist renderings of interiors recalling Vuillard, observations of weather, sunlight, and the astronomical realm, and the surprises and questions occasioned by travel. Like a naturalist, but with a poet’s lexicon, Khalvati lovingly observes plants and animals, the smaller mammals and birds given center stage. These warm-blooded species, with their delicacy, their fur and feathers, are, as slowly becomes apparent, a healing replacement for the deceased mother. In the wake of that death, as she reconceives her life on earth, Khalvati is also reinventing poetry.' — Alfred Corn