From the pages of Harry Guest’s collection of poetry emerge forests, fields of grass, Norwegian fjords, and nature-dwelling creatures. The title is poignant for it reflects on relationships, the passage of time, and a sense of place. Adding to a substantial oeuvre (poetry publications, several novels, and translations from French, German, and Japanese) Last Harvest presents a retrospective view of Guest’s life as it nears its completion.
Linda Black’s fourth poetry collection, Then, is a twisting and turning thread that is pulled through the layers of emotion and experience that form the fabric of life. In a stylised and sophisticated manner, yet also playful and childlike, Black manages to weave multiple incarnations of herself throughout her writing.
When a poet opens a collection quoting fellow-poet Ada Limón’s question, ‘Will you tell us the stories that make/ us uncomfortable, but not complicit?’ then already a great deal is being demanded of both the reader and of the writer.
Originally from Belfast, Carolyn Jess-Cooke now is very much part of Glasgow’s vibrant literary scene; she comes to We Have to Leave the Earth with a considerable backdrop of lived, researched and written experience. Pleasingly, her website describes her as being ‘not really bothered about genre’. That’s useful as the evidence of her ability to work beyond boundaries is clear.
Limbo is a poetry collection by Georgi Gill, doctoral researcher in Health in Social Sciences at Edinburgh University and the inaugural Poet-in Residence at the Anatomical Museum of the University of Edinburgh. She is the editor of the web-based poetry journal, ‘The Interpreter’s House’. She states on her web site that she enjoys blending poetry with fiction and the structure of this collection certainly confirms that.
In her second full-length poetry collection, Claire Askew searches for security and self-assurance within a heavily patriarchal world where institutional power reigns over individuals. Here is fiery free verse that captures beautifully the uneven forces of female empowerment and misogyny. The resolution to this tension is searched for through deftly poetic explorations of dysfunctional relationships, exploitation of the natural world, and interpretations of Salem witch trials.
In poems that deftly explore humanity’s entanglement with, and reliance upon, the fossil fuel and oil economy, Rebecca Sharp has created an intelligent addition to her growing portfolio of poetry, plays and performances with her new collection Rough Currency. The addition of a supplementary soundscape by Philip Jeck made available externally through the platfrom, soundcloud, moulds Rough Currency into a hybrid form of printed words and sounds, thereby exposing the increasingly hybrid and cyborglike nature of our machine-reliant human race.
Wedding Grief is an astutely chosen title; it encapsulates the fraught, traumatic relationship between Paul Éluard and his wife, Gala Diakonova, from meeting in a TB Sanatorium during World War 1 to the eventual ménage à trois with Max Ernst, and their eventual divorce. AC Clarke’s award-winning hand works fully within this collection. Her work of three years wraps within itself inversions and extrapolations of grief and trauma, shifting between perceptions, tones, and meanings.
In her debut poetry collection, Beirut-based poet lisa luxx expertly captures the essence of violence and destruction lurking in human beings – from intimacy between individuals, to the political uprisings of masses. Amidst the chaos of revolution, luxx combines references to Arabic culture and folk legends with the examination of gender and sexual identity.
This poetry and short prose collection displays an obsession with memories: how they fade from us and what we lose when one forgets them. George Messo creates an overwhelming feeling of cold darkness in The Invention of Lars Ruth. The collection is separated into two sections, ‘The Invention of Lars Ruth’ and ‘Cuckoo Taiga’ and dispersed through the text are eerie sketches, like a scribble of a place someone is forgetting.
We always find ourselves back within poetry, both as a response to cultural phenomena and personal events (for example, weddings or funerals), Frears says. Although it is a niche form, it constantly surrounds us.