Karen Dennison

Poet and artist


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Sally Douglas reviews blueshift: Art from Poetry – Poetry from Art

The Poetry Shed

BlueshiftFront
blueshift: Art from Poetry – Poetry from Art, edited by Karen Dennison

blueshift is a beautiful little pamphlet consisting of a sequence of fifteen pieces of artwork and poetry, each by different writers and artists, and each responding to the one before: a chain reaction of visual and textual imagery which is a delight to experience.
The poems and the artworks are all very different, each a free and often tangential response to the previous work, and this is part of what makes the reading of this book such an exciting experience. However, even when the relationships are quite oblique, there is always a linking thread, like a strong but very fine wire, glinting from under the surface of the text.

The first poem in the collection, Rebecca Gethin’s ‘Wolf Moon’ responds to ‘Corvus’ by Emmy Verschoor, a mixed media work featuring a wolf silhouette against a background of…

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My review of Smashed Glass at Midnight by J V Birch

smashed-glass-at-midnight-cover-imageThis chapbook of twenty poems is published by Picaro Press, an imprint of Ginninderra Press. It is notable for its narrow shape, egg-shell-like cover paper and transparent endpaper. The poems are about loss in a number of contexts including failing relationships, childlessness, hospital admissions and dementia.

Each poem brings a distilled image with an intense focus where the abstract and the unseen often become embodied things. For example, in Sense of an ending – ‘The air between us is tired/wants to lie down/dream of doors being open’ and in What the old house thinks ‘my yellow’ is a living thing that once danced and sang and has now been stolen.

Emotions also become living entities, through the use of visual metaphor, that communicate with, possess, and control the speaker. In Offspring loss has its own will, taking the form of an unwanted companion, and ends up being carried in the speaker’s handbag and releasing itself as a ‘god-awful sound’. And in Instinct, ‘..it stood awkward at her door/ in a uniform it couldn’t breathe in.’

The poems also have the feel of a dreamlike distance as if the speaker is looking back on the past, detached from an earlier self where there was a sense of loss of control; where her body, hands and mouth had their own minds. From Admission – ‘her hands restless spiders make nests in her hair’ and she ‘moves her words to her fingers/ touches her mouth when she wants to speak’. Loss of control also features in Body where ‘many women have choices/mine are made for me.’

The image of the mouth punctuates these poems, recurring like an archetype where sounds and words are involuntarily released and then purposefully held-back. In Release, ‘I peel down/unravel myself./ Start with the flap at my mouth that’s teased for too long.’

Paper and folding also feature as metaphors for fragility and acceptance / closure. In Revelation ‘you thin me to paper’; in What the new wife does ‘she folds into routine’ and in Leaving ‘I place my goodbye on the table/ seven years of tears/ line dried, folded in pairs’.

This collection really resonated with me and its images stayed with me long after reading, a reflection of their strength and symbolism. I highly recommend it.

To end, here’s 17 years in full which I have chosen because of the stunning ‘moths that martyr the windows’.

17 years

Our mouths are no longer in love
they forget their place
what they used to be.

After rising I pair lonely hellos
spend the day elsewhere
although you left some time before this.

And still we return
to goodnights like moths that martyr the window
until we fold into ourselves.

J V Birch is a British poet living in Southern Australia. To buy the pamphlet, see Picaro Poets Series.

This review was originally published on Abegail Morley’s Poetry Shed.