Background
Emery was born and grew up in Manchester and went to a convent-run primary school in New Moston before attending grammar school in Prestwich.
("Radio Nostalgia" uses a range of personas and historical...)
"Radio Nostalgia" uses a range of personas and historical locations to examine our sense of community and what our lives can mean. Reporting back from the frontiers of conflicts and consumerism, we enter a world mediated through news anchors, oracles and narrators, where often violent simulations of national conviction fall dangerously short of being human. "As palliative as a corpse in a junkyard, "Radio Nostalgia" doesn't relax you so much as it opens a way into wakefulness. With a stunning lexicon, short phrases stuffed with grit, petrol and spleen, Chris Emery orchestrates a complex, resistant music into one to three-beat lines as our 'countdown to armaments'. He refuses to look away from the tableau vivant of degradation. 'It is (as promised) all here for you now', he writes, a twenty-first century so wounded and blot that only the language that crawls over it shimmers with its implicit hope for transformation and redemption" - Forrest Gander.
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Emery was born and grew up in Manchester and went to a convent-run primary school in New Moston before attending grammar school in Prestwich.
Leeds Metropolitan University.
lieutenant was following this that he began to study sculpture, painting and printmaking. He continued at Manchester College of Art and Design before taking a degree at Leeds Polytechnic, graduating in 1986. He subsequently destroyed all his art work, and began to focus upon his writing.
After a brief attempt to train as an art teacher, Emery began work in a variety of jobs: insurance clerk, an administrator in a haematology department, a data manager in an oncology department, an information designer in public transport, and design manager at the British Council, before embarking on a publishing career — ending up as a director at Cambridge University Press.
He left to concentrate on writing and literary publishing in 2002. Emery’s poetry began appearing in journals throughout the 1990s including The Age, Jacket, Magma, London, Review, Wales, PN Review, Quid and The Rialto.
He was anthologised in New Writing 8 in 1999. A pamphlet, The Cutting Room, was published by Barque in 2000.
A first full-length poetry collection, Doctor Mephisto, was published by Arc in 2002.
He has travelled to perform his work in the United States of America and Australia. His last full collection of poetry, Radio Nostalgia, was published by Arc Publications in 2006. He was anthologised in Identity Parade: New British & Irish Poets (Bloodaxe 2010), edited By Roddy Lumsden.
Emery is a contributor to The Cambridge Companion to Creative Writing, edited by David Morley and Philip Neilsen (Cambridge University Press, Cambridge, United Kingdom 2012).
Emery’s poetry is characterised by a dystopian vision of the world, the use of varied personae, an exuberant vocabulary, black humour and dramatic changes in register and tone. His work can shift between mainstream poetics and wild experimentation, often combining both within a single volume.
His central themes appear to be the incongruousness of moral experience within modern society, the collapse or eradication of identity, and non-spiritual or secular redemption. He is also the author of a writers’ guide on publishing and marketing poetry, 101 Ways to Make Poems Sell.
Working as Chris Hamilton-Emery, he is a Director of Salt Publishing an independent literary press based in London, England.
He was awarded an American Book Award in 2006 for his services to American literature. Hamilton-Emery has sat on the Boards of the Independent Publishers Guild and Planet, and occasionally works as a consultant in the publishing industry in the United Kingdom. Chris Emery"s Web siteSalt PublishingChris Emery’s MySpace profile.
("Radio Nostalgia" uses a range of personas and historical...)