Karen McCarthy Woolf(Dialogue Books, 2024); hbk, £20 Infinity is an episode long and troubling to decipher [,] Dolly How might a writer work their way into writing an expansive historical telling of the vastness of United States, uncovering a multitude of people, of oppressions, victories, defeats and ongoing struggles? Recalling the cliché, ‘When Read More
Sarah Wimbush(Stairwell Books, 2024); pbk, £15.00 300 million years of compression dripping through their hands. (‘Boy Riddlers’) Trade union activists reading Sarah Wimbush’s Strike will recognise those turbulent meetings, the passions, pains, waved placards, and they will know both the lasting comradeship and the perpetual divisions germinated during prolonged strife. They will be Read More
Eithne Hand (Salmon Poetry, 2020); pbk: €12,00 Wherever your political inclinations, in the aftermath of the UK’s most recent election, it’s likely we can agree that we have all endured a certain amount of tired, repetitive debate. In poetry, probably, there are parallels in the regularly trundled out arguments polarising page and stage, discussions which Read More
MacGillivrayBloodaxe (2023)Pbk:£14.99 my real marks…I hide beneath my overcoat, trace the seams of its rough-sewn darts: skins shield, sweats salt, but anatomies of sorrow, only death reveals. (Celestial Metre: Wounded Centaur Hexameter) In July 2022, MacGillivray (‘matrilineal Highland pen-name of writer, artist and musician Kirsten Norrie’) interred family ashes in the clan enclave on Read More
This is the poet’s first collection, Perthshire-based Picton Smith and it comes with considerable verse credentials, already having been long-listed in the National Poetry Competition, commended in the Hippocrates Prize, and placed second in the Neil Gunn Writing Competition; she also holds a PhD in Contemporary Scottish Poetry. When The Whooper Swans Came demonstrates what a pamphlet can achieve. This is a taut beauty, flensed of flab, an example of less being more, with the promise of a great deal yet to come.
Rachael Allen describes a collection which ‘is a haunting’, whilst John Greening terms it ‘almost a verse novel’. I’m uncertain where the parameters lie, but in this Fenland Gothic tale, Elisabeth Sennit Clough (who is from that area) conveys the almost-trippy drift from the subconscious, ingrained with something painfully real. And all of it arrives with a level of formal poetic crafting which lifts this narrative into the extraordinary.
Most famously, Seamus Heaney remarked on ‘chiming the ancient with the modern’. In Ghost Passage, Josephine Balmer’s task is similarly charged. Her rich publication record includes her own poetry, Classical verse translations, editorship of anthologies and, arguably most closely in the context of this latest collection, Piecing Together the Fragments: translating Classical Verse, Creating Contemporary Poetry (OUP, 2013). This is a poet very ready to write this book.
In spite of the poet’s undeniable fastidiousness in presenting his lines, being Les Murray’s editor must have had mercurial moments. Jamie Grant provides an illuminating ‘Note on the Text’ to open the great Australian’s final collection.
None of the poems in this, Kim Moore’s more recent collection, have formal titles. Numbers, yes, and the contents’ list identifies them by their opening words. The acknowledgements credit sources as diverse as Hélène Cixous, Thomas Hardy, Adrienne Rich and Rainer Maria Rilke, but in the opening poem, ‘We are coming’, it’s impossible not to see a baton already being passed from Sylvia Plath; soon after it’s hard to avoid shades of Carol Ann Duffy’s Red Riding Hood, or to hear Hilaire Belloc’s ‘waterfall of doom’ building its inevitable force. The tributaries are indeed wide-ranging, which seems entirely in keeping with the complex and very painful issues Moore has the bravery to explore. Rarely has it been more important to read a poetry collection in the sequence the poet has ordered; there are no lines to be skimmed.
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.
