The New Carthaginians

De: Nick Makoha

Narrado por: Nick Makoha

Brought to you by Penguin.

An expansive new collection from one of the UK’s most daring and celebrated poets

In The New Carthaginians, time – and with it the world – is out of joint. A hijacked plane lands at Entebbe International Airport in 1976, triggering the crisis that will lead to Idi Amin’s Uganda becoming a pariah state and, within a few years, to the young Nick Makoha’s flight from the country. A mysterious writer daubs poetic slogans on the walls of late-’70s New York City, signing them SAMO©. Three characters who are also one – the Poet, a Black Icarus and a resurrected Jean-Michel Basquiat – journey through a time that is both our own and not, watching TV, discussing art and literature and tucking their wings into their jackets on the way to airport security.
Concerned throughout with flight and falling, the sample and the loop, The New Carthaginians is a poetry collection of staggering originality: a work by an author at the height of his powers, in which the familiar Western canons of art, history and philosophy are prised apart and reassembled in a new configuration. Drawing on Basquiat’s technique of the ‘exploded’ collage, our heroes’ odyssey gathers the symbols of a new mythos, through which the othering of Black life might be undone and the stage set for some fresh emergence, some transfigured understanding of myth and life. ‘Hold that note,’ writes the poet. ‘In this place you are no longer the chorus … In any future, remember you are a New Carthaginian.’

‘In this book, Nick Makoha has found an otherworldly, visionary voice and diction that arrest you from the first page and never let you go.’ Jason Allen-Paisant, Winner of the TS Eliot Prize

© Nick Makoha 2025 (P) Penguin Audio 2025

Reseñas de la Crítica

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)

An invigorating collection that summons Basquiat, Icarus and a cast of characters from literary and pop culture (Maria Crawford)

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)

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)

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)

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)

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)