At his death in 2016, Geoffrey Hill left behind The Book of Baruch by the Gnostic Justin, his last work, a sequence of more than 270 poems, to be published posthumously as his final statement. Written in long lines of variable length, with much off-rhyme and internal rhyme, the verse-form of the book stands at the opposite end from the ones developed in the late Daybooks of Broken Hierarchies (2013), where he explored highly taut constructions such as Sapphic meter, figure-poems, fixed rhyming strophes, and others. The looser metrical plan of the new book admits an enormous range of tones of voices. Thematically, the work is a summa of a lifetime's meditation on the nature of poetry. A riot of similes about the poetic art makes a passionate claim for the enduring strangeness of poetry in the midst of its evident helplessness. The relation between art and spirituality is another connecting thread. In antiquity, Justin's gnostic Book of Baruch was identified as the 'worst of heresies, ' and the use of it in Hill's poem, as well as the references to alchemy, heterodox theological speculation, and the formal logics of mathematics, music, and philosophy are made coolly, as art and as emblems for our inadequate and perplexed grasp of time, fate, and eternity. A final set of themes is autobiographical, including Hill's childhood, the bombing of London, his late trip to Germany, his alarm and anger at Brexit, and his sense of decline and of death close at hand. It is a great work, and in Hill's oeuvre it is a uniquely welcoming work, open to all comers.

The most comprehensive collection of gnostic literature ever published, this volume is the result of a unique collaboration between a renowned poet-translator and a leading scholar of early Christian texts.

Broken Hierarchies brings together twenty books of poems by Geoffrey Hill, offering a complete collection of his poetry from 1952-2012.

The Collected Critical Writings gathers more than forty years of Hill's published criticism, in a revised final form, and also adds much new work. It will serve as the canonical volume of criticism by Hill, the pre-eminent poet-critic whom A. N. Wilson has called "probably the best writer alive, in verse or in prose." In his criticism Hill ranges widely, investigating both poets (including Jonson, Dryden, Hopkins, Whitman, Eliot, and Yeats ) and prose writers (such as Tyndale, Clarendon, Hobbes, Burton, Emerson, and F. H. Bradley). He is also steeped in the historical context - political, poetic, and religious - of the writers he studies. Most importantly, he brings texts and contexts into new and telling relations, neither reducing texts to the circumstances of their utterance nor imagining that they can float free of them. A number of the essays have already established themselves as essential reading on particular subjects, such as his analysis of Vaughan's "The Night", his discussion of Gurney's poetry, and his critical account of The Oxford English Dictionary. Others confront the problems of language and the nature of value directly, as in "Our Word is Our Bond", "Language, Suffering, and Value", and "Poetry and Value". In all his criticism, Hill reveals literature to be an essential arena of civic intelligence.

In these essays, acclaimed poet and critic Anthony Hecht explores the ways in which poetry can be read and the many pleasures it affords. Ranging from Shakespeare's sonnets to Eliot, Frost, and Simic, Melodies Unheard offers profound insight into poetic form, meter, rhyme, and meaning--into the mysteries of poetry itself. Anthony Hecht's vast knowledge of literature and his gift for mesmerizing argument are both amply present in Melodies Unheard. Whether defending the sestina against accusations of boredom and dolefulness or examining the structure of Shakespeare's sonnets or unraveling some of the complexity of Moby-Dick, these essays are models of civility, candor, and grace. I know of no other poet, certainly none of Anthony Hecht's stature, who sheds as much light on the intricacies and hidden designs of poems and who does it with such style.--Mark Strand Anthony Hecht declares himself 'a poet first and only secondarily a critic, ' but Melodies Unheard proves again that he is a master in both trades. His discourse on such subjects as rhyme, the sestina, and 'the music of forms' is both scholarly and delightful; his articles on individual poets are finely done; and best of al

Revealing Women' offers a detailed and textual oriented investigation of the roles and functions of female characters in Gnostic Christian mythologies. It answers questions such as: to what end did Gnostic Christian theologians employ feminine imagery in their theology? What did they want to convey through it?0This book shows that feminine imagery was a genuine concern for Gnostic theologians, and it enquires about how it was employed to describe the divine through a contextual reading of Gnostic Christian texts presenting Ophite, Sethian, Barbeloite and Valentinian 'mythologoumena' and 'theologoumena'. Overall, it argues that feminine imagery ought to be acknowledged as an important theological framework to investigate and contextualize Gnostic works by showing that these theologians used feminine imagery to exemplify those aspects of the Godhead which they considered paradoxical and, yet, essential. The claims made in the first chapters are later substantiated by an in-depth investigation of understudied Gnostic texts, such as the so-called Simonian Gnostic works, the Book of Baruch of the Gnostic teacher Justin and the Nag Hammadi treatise known as Exegesis of the Soul.

Preliminary material -- A COD CALLED LYCHNOS -- HERMOCLES' ITHYPHALLUS FOR DEMETRIUS -- DEMETER, BAUBO, IACCHUS--AND A REDACTOR -- SATOR AREPO = GEORGOS HARPON -- UBI MURES FERRUM RODUNT -- THE ISIS WITH SEVEN ROBES -- THE TEXT OF THE GOSPEL OF THOMAS (NAG HAMMADI II.2) -- THE NAASSENE PSALM IN HIPPOLYTUS -- PHANES, PHICOLA, AND THE SETHIANS -- JUSTIN'S BARUCH: A SHOWCASE OF GNOSTIC SYNCRETISM -- NEW GNOSTIC TEXTS -- MONOIMUS' LETTER TO THEOPHRASTUS -- THE ESSENES AS CHRISTIANS -- THE WEDDING HYMN OF ACTA THOMAE -- PYTHAGORAS AS COCK -- INDEX LOCORUM -- INDEX RERUM.

Praise for Geoffrey Hill's newest collection of poems: "Without Title, his new collection, combines the force and freedom of Hill's narrative verse with a renewed faith in his masterly talents for form and wordplay. The result is alarmingly good; a collection of lyrics on the difficulties of ageing, the problems of belief and the vagaries of language bracketing a sequence of pindarics in which Hill, ostensibly responding to thoughts of the Italian poet Cesare Pavese, meditates at length on both their lives and considers the place of a poet in the world."-Tim Martin, Independent on Sunday

A new edition of our classic, The Other Bible, including a new index, new cover, and a new introduction from the author to bring The Other Bible up to date. The Other Bible gathers in one comprehensive volume ancient, esoteric holy texts from Judeo–Christian tradition that were excluded from the official canon of the Old and New Testaments, including the Gnostic Gospels, the Dead Sea Scrolls, the Kabbalah, and several more. The Other Bible provides a rare opportunity to discover the poetic and narrative riches of this long–suppressed literature and experience firsthand its visionary discourses on the nature of God, humanity, the spiritual life, the world around us, and infinite worlds beyond this one. This new edition will include a full index and a new introduction from editor Willis Barnstone. o The interest in Gnostic texts begun with The Da Vinci Code has spread to include many of the other "suppressed" early texts of Judaism and Christianity, and this book contains many of them in one volume.

SCENES FROM COMUS is the new sequence of poems from Britain's most original and ferocious modern prophet, Geoffrey Hill. In the words of Rowan Williams, Archbishop of Canterbury, Hill remains for me the supreme voice of the last few decades The recent work, telegraphic, angry and unconsoled, at once assertive and self-dispossessing, is extraordinary'