Reviews
Review: ‘Working Class Voodoo’ by Bobby Parker
While Working Class Voodoo knowingly writes into and through traditions passed down from Anne Sexton, Robert Lowell and other ‘confessional’ writers, Bobby Parker is, emphatically, a poet of his own, disrupting what we expect from the lyric ‘I’. Working Class Voodoo provides the uncomfortable yet absolutely indispensable vantage of being a moth in the carpet…
Jake Morris-Campbell
Review: ‘Waitress in Fall’ by Kristín Ómarsdóttir, trans. Vala Thorodds
Waitress in Fall is a career-spanning collection of Kristín Ómarsdóttir’s work, comprising 30 years’ worth of poems, selected and translated by Vala Thorodds and published by Carcanet & Partus. These poems by Kristín†, taken from her seven collections and presented chronologically, follow the likes of Selima Hill and Eileen Myles in conveying the quieted desires,…
Maria Sledmere
Review: ‘I CAN’T WAIT FOR THE WENDING’ by Wayne Holloway-Smith
I CAN’T WAIT FOR THE WENDING (Test Centre) is a startingly imaginative non-linear collection of poems by Wayne Holloway-Smith. Published on unbound, unpaginated sheets in a box instead of a book, the page becomes a playground redrafting the boundaries of expectation. The curious title is taken from a misspelt line written by Holloway-Smith’s daughter, setting the…
Jade Cuttle
Review: ‘Passport’ by Richie McCaffery
In his second collection, Passport, Richie McCaffery explores the realities faced by many international couples who live with the uncertainty of Brexit. The poems are taut with frustrated energy as the speaker, who it is clear from the poems is McCaffery himself, seeks a place to call home. McCaffery is British and his wife is from…
Maria Apichella
Review: ‘The Girl Who Forgets How To Walk’ by Kate Davis
A personal quest to re-learn how to walk through cherished, northern landscapes introduces a gifted new voice. Gathering fragments from memory, myth, archaeology and geology, Kate Davis’s debut is a nimble exploration of what it means not only to exist, but to persist. The Girl Who Forgets How to Walk feels to me incredibly timely….
Jake Morris-Campbell
Review: ‘support, support’ by Helen Charman
‘love other women / collaborate only with them’ writes Helen Charman in ‘Instructions for waking up in the morning’, the first poem of support, support (Offord Road Books). The pamphlet takes its title from Denise Riley’s ‘Affections Must Not’, and women’s voices – urgent, ebullient, sardonic – are important throughout. The opening poem acts as an…
Jenna Clake
Review: ‘American Sonnets for My Past and Future Assassin’ by Terrance Hayes
Tradition and fashion aside, what Terrance Hayes does with 14 lines, over and over, is what seems necessary: the focusing and finessing of a complex voice – by turns melancholy, crass, urbane, incensed – into a mode that keeps his train-of-thought moving while calling at every stop. Rhythm and momentum in poetry are not the…
Humphrey Astley
Review: ‘The Republic of Motherhood’ by Liz Berry
The Republic of Motherhood (Chatto and Windus) is a pamphlet of poems about motherhood. And it’s by Liz Berry, which means that it is brilliant. The poems in this pamphlet celebrate and sing every aspect of early motherhood, in all of its tendernesses and darker sufferings. One thing I was struck by was a really effective balance…
Jonathan Edwards
Review: ‘The Singing Glacier’ by Helen Mort
The Singing Glacier (Hercules Editions) by Helen Mort is a brief collection, just six poems slotted into the size of a crack. But the heart-shaking imagery produced in response to this precious and precarious landscape cuts right to the core. The book opens with an orchestra of clattering spoons and chattering customers; percussive rain pounding against…
Jade Cuttle
Review: ‘The House with Only an Attic and a Basement’ by Kathryn Maris
Many of the poems in The House with Only an Attic and a Basement – poems Maris describes as ‘fictions’ – deal with anxieties around the frictions and fissures in communication between men and women, toxic heterosexual encounters, marriage and infidelity and child-rearing. As with Maris’ previous collection God Loves You (2013), the tensions produced…
Amy McCauley
Review: ‘Passivity, Electricity, Acclivity’ by Ella Frears
Ella Frears’ Passivity, Electricity, Acclivity is one fragmented but connected lyric essay. Where the lyric essays that are most frequently referenced (Maggie Nelson’s Bluets, and Claudia Rankine’s Don’t Let Me Be Lonely and Citizen) tend to work in small blocks of prose (or prose-poetry), Frears explodes the lyric essay form, producing the familiar blocks of prose,…
Jenna Clake
Review: ‘As Slow As Possible’ by Kit Fan
Kit Fan’s multifarious second collection takes its title from an art installation / piece of music for a church organ by John Cage which began its performance in September 2001 and is scheduled to end, believe it or not, in 2640. It takes on average over a year for a note in Cage’s composition to…
Richie McCaffery
Review: ‘Isn’t Forever’ by Amy Key
Isn’t Forever (Bloodaxe Books) is a moving and sincere song of mourning; a song which gathers impetus not through showiness but via a slow accrual of raw, untheatrical and many-layered sadnesses. In ‘Lousy with unfuckedness, I dream’, Key writes: …
Amy McCauley
Review: ‘Girls Are Coming Out of the Woods’ by Tishani Doshi
Evocations of dogs, rain, love letters, mouldy houses, dead girls, adolescent longing, and an understanding of the body’s mortality inform poet-dancer Tishani Doshi’s Girls Are Coming out of the Woods (Bloodaxe Books), an eerie world of both ruin and tenderness. Conferred the Eric Gregory Award for Poetry and the Forward Prize for Best First Collection…
Niroshini
Review: ‘Assurances’ by J.O. Morgan
Paying particular attention to the undercurrent of waiting, Assurances (Cape Poetry) navigates an assembly of perspectives and voices affected by the Cold War. Through what he’s gleaned from his father’s role in maintaining the R. A. F. Airborne Nuclear Deterrent at that time, J. O. Morgan’s work seeks to illuminate the shared space and connections…
Maryam Hessavi
Review: ‘Emerald’ by Ruth Padel
The irrepressible spirit of green guides Ruth Padel’s new collection Emerald – in terms of inner and outer growth, mysterious stone tablets and the lucent mineral itself, ‘a seam / of dazzle green’. Emerald is a tender and sustained honouring of the author’s mother Hilda, and the particularities of her dying, in 2017. ‘This is…
Sarah Westcott
Review: ‘Venus as a Bear’ by Vahni Capildeo
My favourite Capildeo moment (that I’ve come across in print) is in a TLS ‘20 questions’ interview from December of last year when in response to ‘Jacques Derrida or Judith Butler?’, the Douglas Caster Cultural Fellow in Poetry at Leeds University came back with ‘Ursula LeGuin. And David Bowie.’ What appeals to me most in…
Nasser Hussain
Review: ‘Electric Arches’ by Eve Ewing
In a recent reading, Eve Ewing quoted the Black Liberation Army leader Assata Shakur: “Black Revolutionaries do not drop from the moon. We are created by our conditions.” Ewing agreed with Shakur, but then went on to ask: what if they did drop from the moon? This is the premise of the opening poem of…
Peter Raynard
Review: ‘Soho’ by Richard Scott
By turns explicit and playful, elegiac and defiant, Richard Scott’s Soho draws on the fiercer traditions of queer poetry without ultimately depending on those who have gone before. The result is a debut not bound by allegiance to some generalised category but liberated by joy and clear execution. Soho is not necessarily inseparable from London’s…
Patrick Davidson Roberts
Review: ‘The Built Environment’ by Emily Hasler
Epigraphs often function as concise statements of intent, subtly staking out the territory and interests of a collection. Emily Hasler’s The Built Environment (Liverpool University Press) begins with a quote from Nan Shepard’s The Living Mountain acknowledging the wonderful tension between what we know and what we cannot know of the natural world, which for Shepard…
John Challis
Review: ‘Who Is Mary Sue?’ by Sophie Collins
I admit, I experienced intense feelings of estrangement and disruptedness during my first reading of Who Is Mary Sue? (Faber). A kind of physical, alienating panic took hold and I struggled with a sense of being constantly dislodged from my usual reading habits and processes. The allusive, allegorical mode is realised through a very quiet approach…
Amy McCauley
Review: ‘Pamper Me To Hell & Back’ by Hera Lindsay Bird
The review of Hera Lindsay Bird’s pamphlet Pamper Me To Hell & Back that I’d really like to write, my ideal review, would be a long list of the poems’ flaws and failings, a whole bunch of intellectual and even occasionally personal criticism, and then at the end there’d be a very large, badly lit…
Joey Connolly
Review: ‘A Perfect Mirror’ by Sarah Corbett
Exploring themes of location and dislocation, Sarah Corbett’s A Perfect Mirror (Liverpool University Press) finds connections in unlikely spaces, refracting global concerns through local attachments. This short collection finds its genius loci in the landscapes of West Yorkshire and the English Lake District, but its thematic concerns are much broader: seeking to create resonances with both…
Jake Morris-Campbell
Review: ‘City of Bones: A Testament’ by Kwame Dawes
I read City of Bones (Northwestern University Press), over 200 pages of poems, in one sitting. I was completely held by this heart-full incantation, this uncompromising, philosophical and allusive series of narrative, lyrical and elegiac poems that ventriloquise the ‘multitudes of souls urgently and forcefully singing, shouting, groaning, and dreaming about the African diasporic present and future.’…
Kay Syrad
Review: ‘An Ocean of Static’ by J.R. Carpenter
In between the billows of foaming brine, tucked away behind stacks of salt, lurks the pearl of a poetic endeavour completely unlike any other. An Ocean of Static (Penned in the Margins) is the debut collection by digital writer J.R. Carpenter, whose cryptic stream of ever-shifting code spectacularly reinvents the seascape. From the late 15th century…
Jade Cuttle