The best poems by Simon Armitage
Since his debut collection, Zoom!, appeared in 1989 when he was still in his mid-twenties, Simon Armitage has become one of the most feted, read, and studied contemporary English poets. His work combines wry colloquialism and humour with frequent poignancy, treating such perennial subjects as death, violence, and lost love with directness and wit. Below we’ve chosen ten of Simon Armitage’s best poems, though of course, any list is bound to be subjective to an extent. We’ve also been restricted a little by what Armitage poems have already been reproduced online elsewhere. But the ten poems below are all well worth reading, we maintain.
‘Poem’. People are complicated, and are often jumbles of contradictions, mixing good and bad elements. This is the essence of this understated poem by Armitage – understated to the point that it has a sort of ‘anti-title’, refusing to comment on what follows – which follows the rhyme scheme of the Shakespearean sonnet, though its alternating rhymes are very similar (as can be seen by the repeated sounds in the first four lines: drive/side/night/lied).
‘A Vision’. This 2006 poem depicts the contrast between our idealistic hopes and plans for the future and the somewhat less perfect reality, which often falls short of our expectations. Specifically, Simon Armitage uses the example of town planning and the ways in which the reality of the town, once built, failed to live up to the perfection embodied by the miniature model of the new town.
‘I Say I Say I Say’. Simon Armitage doesn’t shy away from addressing some of the most disturbing topics, and his years working as a probation officer gave him plenty of contact with people down on their luck, or at the end of their tether. ‘I Say I Say I Say’ is about self-harm and suicidal thoughts, but offered in the style of the patter of a public speaker, perhaps even a stand-up comedian. It is this bluff, no-nonsense refusal to sentimentalise or even take completely seriously the plight of those who are depressed and suffering that gives the poem its disturbing power.
‘You May Turn Over and Begin …’ Probably the best poem ever written about sitting the General Studies A-Level exam, ‘You May Turn Over and Begin …’ is also about sexual desire and adolescence. It’s a quintessentially Armitigian piece.
‘The Shout’. Like the poem above, ‘The Shout’ takes a memory from the poet’s schooldays and then turns on a tragedy or incident which brings the earlier memory into clearer focus. Here, the speaker of the poem is remembering a school exercise that involved him and another boy who had to walk further away and keep shouting, until he was out of earshot. Twenty years on, and in Australia – just about as far away as it’s possible to get from Yorkshire where Armitage grew up – the poem takes a surprise, tragic turn …
‘Chainsaw versus the Pampas Grass’. This 2002 poem is about a man using a chainsaw to cut down the pampas grass of South America. The chainsaw is ‘overkill’ where such a simple task is concerned: one doesn’t need to use an electric chainsaw to cut grass. But this is, as Armitage puts it, the sledgehammer taken to crack the nut. However, despite the chainsaw mowing down the grass with ease, the poem ends with a vision of the grass growing back, enduring despite the chainsaw’s best efforts to destroy it.
‘To His Lost Lover’. A beautiful poem of love and regret, ‘To His Lost Lover’ is taken from Armitage’s 1993 collection The Book of Matches. The poem features one of Armitage’s favourite devices – the list – which is used here to name all of the things the grieving lover never did for his lost beloved. For our money, this is one of Simon Armitage’s best poems – perhaps even his finest of all.
‘About His Person’. Another list poem, this – itemising the possessions found on a dead man, each of which tells a story and suggests things about his life. What should we make of the ‘ring of white unweathered skin’ that is found on the man’s finger? Armitage lets this details speak for themselves, ripe with suggestive associations and tragic undertones. What does a life amount to? Like ‘Poem’ above, this is the theme of ‘About His Person’ – the title of which cleverly suggests not just the items found in the man’s possession but also the more abstract nature of what he, as a person, was ‘about’.
‘The Catch’. This might be described as a latter-day imagist poem, given its use of free verse, its focus on a single moment, its understated style, and its suggestion of something transcendent – not fully revealed – behind a very simple action and event (the catching of a cricket ball during a match). Part of its success lies in the suggestiveness of the word ‘season’, which looks beyond sport into the world of nature, suggesting another kind of catch (fish, or perhaps the harvesting of fruit?).
‘Give’. This is a remarkably simple poem, spoken by a homeless person sleeping in a doorway and asking for some compassion from a stranger. As with several other poems on this list, Armitage exploits the potential of a simple word – here, ‘change’ – to carry multiple connotations, suggesting not only loose money but also social change.
To discover more of Simon Armitage’s poetry, we recommend getting hold of the excellent Paper Aeroplane: Selected Poems 1989-2014. For more poetry suggestions, see our pick of Ted Hughes’s finest poems and these classic Wallace Stevens poems.