Lively, thought-provoking book

As many of us know, straddling the Atlantic can be quite uncomfortable—and it doesn’t help that the word ‘quite’ doesn’t always mean what you think it means. This is a brilliant guide to the revealing differences between two branches of English from a writer who is funny, smart, and almost worryingly observant. I was charmed from first to last. As an English person I will say, ‘Oh, jolly well done,’ but I’d like to add: ‘Good job!

The ocean that divides England and America is awash with linguistic wreckage and cultural tumult. But Erin Moore’s study of these infested waters is serene, assured and hugely entertaining. They should hand her book out at border control

As an American expatriate and book editor who lives in London, Moore is in an ideal position to see the truth to the longstanding joke that British English and American English are different languages. In this witty book, Moore delves into specific linguistic differences, unpacking what they say about our respective cultures. Moore manages to create a text that is eminently readable, clever (in the sincerely-intended American sense) and thought-provoking, gently breaking down some of the cultural stereotyping that plagues both Americans and British. The end result is something readers can readily share with friends on both sides of the ocean.

clever, witty and thoroughly engaging

A new fascinating exploration of the words that Americans and Brits both use and how they can have different meanings altogether… Moore is a very engaging writer… an excellent springboard for more research into the history of our magnificent and maddening language.

The ocean that divides England and America is awash with linguistic wreckage and cultural tumult. But Erin Moore’s study of these infested waters is serene, assured and hugely entertaining. They should hand her book out at border control.

In his juxtapositions of paintings, black urban life and media, he makes us think of what poetry can be: that the book itself is the poem, and each topic a stanza in a bigger epiphany ... A must for all lovers of poetry and its power

When I speak of justice and anger written with luminous genius, I will forever be speaking of Yomi Sode's Manorism, a glorious, furious collection that tells a thousand stories in stunningly crafted verse. A triumph that everyone should read

Manorism is a stunning debut collection. Yomi Sode's poems examine the various lenses observing the black body in Britain, the implications of its passage between class, cultural and racial spaces. His words are indelible . . . rich with images that shake your core and a sharpness in its technicality. Manorism is a classic

Manorism is a work of sincerity that cuts deep. It's a work that is at once comprehensive and incredibly personal. Reading it I felt my heartbeat change pace, faster and slower. The book is about families, society, being Black in Britain, being a cousin, a nephew, a son and the hope for the future that being a father brings. Yomi is a griot, a voice in which we can hear the ancestors, a voice for now and a prophet of future possibilities

This is a such an important collection. Yomi Sode's debut articulates the most subtle nuances of Black British Masculinity with a breathtaking vulnerability. Truly, Manorism is something new - an interrogation of realities that have been too often ignored, through the lens of experiences that have been pushed into the margins . . . [It] bring[s] the full humanity of Blackness into the centre, through poetry that pushes at boundaries while inviting you in

Manorism. A Black British Diasporic way of being. A sense of place. A posture . . . Yomi Sode interrogates this sociocultural phenomenon, looking at masculinity, intergenerational violence and historical legacy . . . This is a British continuation of the conversation Claudia Rankine started . . . These are necessary poems: poems as prayer songs, poems as testimony

A brilliant ode to the mandem

Manorism is filled with poetry of a breath held, a fist clenched and held behind the back, the knockout beckoning always. An ambitious and adventurous debut, brimming with heart

The birth of a new poetic storyteller

Yomi is not ramping. This is a rich, nuanced, emotional collection. I read about myself and my people, felt an affinity in the expression of experiences we share and felt feelings only we feel. Thank you for this, Yomi

Both sharp-eyed and rich with complex feeling, Manorism is an exquisite collection

Part-confession, part-conjuring and wholly unique, Yomi Sode's debut collection is unflinching. As he writes, "Our stories are open wounds." ?ode takes us on a visceral journey, spilling secrets nakedly, not allowing us to look away from the hard truth. And we're better for it

An incredibly poignant and layered collection that masterfully graduates from the past, roots us in the present and speaks to the ages all at once. Manorism is a striking, visceral voyage between cultures, languages and histories in ode to the precious lives of Black boys and men

I think one day, Yomi Sode's Manorism will be required reading for a generation of young Black men. [This book is h]is widescreen and expansive examination of what it's like to navigate the complexities of British society as a Black man. From the moments of triumph to those of bleak loss, Sode brings poetic brilliance to the collection's entire range of subject matter

A breathtaking and tender exploration of Black boyhood, manhood, fatherhood and grief

A work of formal experimentation, where lyric essays nestle against play-let structures, in service of a Claudia Rankine-esque determination to bear witness and find frameworks with which we can look at the world properly, fully ... Brilliant ... It's like fireworks going off ... Sode is unflinching and fearless ... Manorism's real gift to us as readers is, ultimately, Sode's deep and unfailing humanity. This is a book in which love can be found

Yomi Sode's Manorism has both its feet planted firmly on the ground - but as a collection, it spends much of its existence split between various opposing worlds of imagination: Black and white, past and present, peaceful and chaotic . . . It forces readers to question what violence we consider beautiful, which victims worthy of framing and hanging on a white wall? . . . Manorism cuts to the quick, openly daring readers to look at the blood spilled within its pages . . . [It] gleams like a whittled blade