Some reckon that to be competition-fit a poem requires an arresting title. With a back catalogue encompassing collection titles as extraordinary as Trembling Hearts in the Bodies of Dogs, People Who Like Meatballs and The Magnitude of My Sublime Existence, Selima Hill brims with relevant expertise. The contents list in this, her latest collection, is a poem in itself.
The pandemic has taken a lot from everyone over this past year but my conversation with Tishani Doshi is one of those rare examples where a world in isolation and an increase of online connectivity turn into blessings. Tishani Doshi greets me from what seems like an oasis. I call online from my flat in Dundee to her, by the sea in India, Tamil Nadu – my morning, her afternoon. I speak to her just days after her appearance at StAnza poetry festival.
The Wreck of the Fathership is the seventh poetry collection from W.N. Herbert. Herbert was Dundee’s inaugural Makar from 2013-2018. This collection has its roots firmly in Dundee, but calls upon themes, techniques and artists the world over, and overflows with hidden meanings and metaphysics. Herbert’s Fathership is an outpouring of emotion, especially of grief that threatens to drown the reader but steered by such poetic genius that no such disaster occurs. The turbulent contents are handled tightly, deftly.
The collection opens with two long poems; ‘Spolia’ and ‘War of the Beasts and the Animals’. Similar in form, they are both chaotic and deeply layered. In both poems, Stepanova sifts through language, culture and identity in an attempt to make sense of them all. She reaches no conclusions, but something fascinating is revealed in the attempt. In her poetry, Russia is a country torn apart and remade line by line, a patchwork of truth, myth and dogma stitched together with shreds of memory.
There are poems in this collection that knocked me clean to the ground… The subject is crucial, but it’s the beauty of the poems which hold it all together….so what makes Lyall’s title special? There is her ability to bring such a dazzling array of raw emotion to the page without a hint of over-sentimentality. But there is also her profound ear for lyric and language.
As a much admired poet, writer and dancer, Tishani Doshi leaves little of the arts world untouched. Countries of the Body was awarded the Forward Prize for Best First Collection while Girls Are Coming Out of the Woods was shortlisted for the Ted Hughes Award. From politics, womanhood to the roots that ground us, this is a journey that the reader is rewarded with…
Love Minus Love is the second collection from Wayne Holloway-Smith. It reads as a continuous, fractured train of thought exploring the poet’s childhood trauma, his relationship with his dad, his mum and mental illness. Sitting on the cover with its hands on its knees is a skeletal robot, the box of its chest burst open. Read More
Tiger Girl is Pascale Petit’s eighth collection. Her previous works include Mama Amazonica which has won, among others, the Ondaatje Prize. This is a rare win for a woman, and for a poet too since the prize is usually awarded to travel writers. But when it comes to Petit’s work, this honour makes sense. Reading Read More
How came separation to chisel, to cherish, to chafe? (‘Some Questions’) There’s always that danger in knowing a writer’s backstory, being aware of historical contexts, or as here, when we live through extreme times and cannot help but use that lens as we read. Over-reading and filtering poems through the reader’s experiences are rightly Read More
In The Lateness of the World is the fourth collection from Carolyn Forché, coiner of the phrase ‘poetry of witness’. Seventeen years on from her last collection, Blue Hour, Forché continues to bear witness with her poems, which here serve as war correspondence, warnings and eulogies, to both individuals and the world around us. Intertextuality Read More
