The New Carthaginians

A dizzying experience… like Dante entering hell through a rip in the universe, Makoha enters history, accompanied not by Virgil but by a Black Icarus with a microchip for a mouth, and the shade of the artist Jean-Michel Basquiat – Philip Terry * Guardian *An invigorating collection that summons Basquiat, Icarus and a cast of characters from literary and pop culture – Maria Crawford * Financial Times *Profound… sheer originality… a tantalising jigsaw puzzle of a book – Tristram Fane-Saunders * Telegraph *Blurs the boundaries between listener and witness… The New Carthaginians is a collection steeped in Black music and culture, wrapped up with images of masculinity, Western philosophy and mythology. Makoha’s poetics will richly reward readers who want to deeply engage with words and symbols… every word and every sign matters and is rigorously connected to that which is before, is now, and is yet to come – Esther Kondo Heller * The Poetry Review *It’s easy to focus on Makoha’s formal ingenuity… far harder to map the astonishing horizons these tools enable… The book’s preoccupaitons with flight, Icarus, and stargazing are only the surface artefacts of a visceral, unrelenting, internal odyssey – Dave Coates * Poetry Book Society *I found a wealth of history, culture, thinking and art in this book… there is humour and sensuality in these poems too, as well as romance, real or sometimes imaginary.. Makoha switches with ease between the lyrical, factual and conversational; his language is absolutely stunning… I am grateful to a poet with such range and ambition, who refuses to settle for anything less than a whole, interrelated picture – Maria Jastrzebska * Writer’s Mosaic *Makoha conveys a different way of seeing and experiencing, part collision course, part fever dream, often removing the parameters of a conventional narrative or field of study, so that academic registers, mathematical concepts, musical notation, and the speaker’s tangential thoughts and metaphors rush into the field of the poem, hijacking the reader’s continuous experience of the text… Makoha’s experiments with form and his use of interruption and redirection challenge the borders of the poem, and at its best provide the blueprint for a burgeoning disruptive aesthetic that at times recklessly – and thrillingly – flies too close to the sun – Zakia Carpenter-Hall * Jhalak Review *Extraordinary… Makoha is a bracing, challenging, agile poet – his writing is reminiscent of Aime Cesaire, in its powerful symbolism, but touched with the surreal edge of Nathaniel Mackey, the exhilarating shooting-for-the stars invention of Will Alexander… Makoha creates space for imagination and interpretation throughout, and in doing so he opens up the possibility of the disruption of the continuity of history – for something else to be imagined into being – Nick Moss * Culture Matters *With extraordinary originality, Nick Makoha leaps in this book to the ambiguity of a codex to deconstruct it, and then reassembles it through neo-myths, language, history, philosophy, and collage … I will be surprised if this book doesn’t win many awards – Yogesh Patel * World Literature Today *A moving collection of entangled histories. Makoha’s poems break, cut, scratch and sample with heightened language to remake and renew the boundaries of myth. Do not sleep on The New Carthaginians – Raymond Antrobus

Nick Makoha is a Ugandan poet and playwright based in London. His debut collection, Kingdom of Gravity, was shortlisted for the Felix Dennis Prize and was one of the Guardian’s Best Books of the Year. His poems have appeared in The New York Times, the Poetry Review, Poetry Wales, Wasafiri, Boston Review, and Callaloo. He is the founder of Obsidian Foundation, winner of the 2021 Ivan Juritz Prize and the Poetry London Prize.