New poetry collections
May. 2nd, 2008 02:25 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
sheenaghpughOut in June: Frank Dullaghan's On the Back of the Wind from Cinnamon Press. Unusual in that how many poets do you know who are hot-shot City lawyers? George Szirtes, who is a Good Egg as well as a fine poet himself, writes: "Dullaghan's quietly spoken poems move between tenderness and terror with a humane warmth. They deal with the business of the world as experienced by a fully human being. The language follows and embraces a wide range of affairs, touching on loved, known and dangerous things - the texture of experience - lightly, unfussily, with a lovely ear for the plain cadence that is, for most of us, the sweet-sad music of being alive."
Two forthcoming from Salt Publishing that are worth watching out for, even on Salt's curiously hard-to-navigate website. Anne Berkeley's Lammas Land is sharp, unpredictable, and documents among other things a childhood during the cold war, a time that hasn't been as much written about as one would think, while Karen Annesen's How to Fall is going to be a real event. Annesen is one of those poets whose cumulative effect is greater than that of any individual poem. There's a stillness and intensity about her language that reminds me of Louise Glück, which from a rabid Glück fangirl is high praise, and I love the way some of her poems clearly have an immense back-story which is never spelt out but adds ominous heft and depth to what we do see.
Two forthcoming from Salt Publishing that are worth watching out for, even on Salt's curiously hard-to-navigate website. Anne Berkeley's Lammas Land is sharp, unpredictable, and documents among other things a childhood during the cold war, a time that hasn't been as much written about as one would think, while Karen Annesen's How to Fall is going to be a real event. Annesen is one of those poets whose cumulative effect is greater than that of any individual poem. There's a stillness and intensity about her language that reminds me of Louise Glück, which from a rabid Glück fangirl is high praise, and I love the way some of her poems clearly have an immense back-story which is never spelt out but adds ominous heft and depth to what we do see.
