Blake Morrison's 'Afterburn' shines as a masterclass in lyric distillation and charged observation, tackling subjects such as social justice, poetic heroes, and personal loss. The poet's use of specificity and concise language creates a captivating interplay of thoughts, emotions, and experiences. Morrison's skillful handling of form and structure is evident throughout the collection, which flows with control and purpose.
In contrast, Arthur Sze's 'Into the Hush' presents a bold vision of the world's fragility, evoking an atmosphere of unceasing iridescence and glimmer even in the face of ecological destruction. The title "Into the Hush" might suggest a sonic organisation, but rather, it can be seen as a painterly brushstroke, illustrating the silence that envelops the poet's world.
Karen McCarthy Woolf's 'Unsafe' is marked by tautness and candour, recalling desires often accompanied by shame and exploring themes of memory, life with HIV, and transformation. The language in this collection is steeped in interpenetration, observed with a rich descriptive eye.
John Berryman's 'Only Sing', edited by Shane McCrae, offers a fierce vernacular, meticulous sonics, and a consciousness unwilling to partition the demotic from the highly conceptual. Berryman's skillful use of line and form creates stunning poetry that can stun or quake its readers.
Simon Maddrell's debut collection, 'Lamping Wild Rabbits', is characterised by loss and candour, recalling desires often accompanied by shame. The subjects range from memory to life with HIV, while the language is rich in interpenetration, observed with a descriptive eye.
Lastly, Alia Kobuszko's 'Dream Latitudes' presents an enigmatic debut, approximating a climax that never arrives. This collection is marked by its use of accidentals and changing timbre, often line by line, which creates a haunting music that neither entices nor repulses.
The shared thread among these collections is their willingness to push boundaries and challenge conventional forms of poetry. The poets featured in this review round are masters of their craft, crafting unique voices that both captivate and disturb their readers.
In contrast, Arthur Sze's 'Into the Hush' presents a bold vision of the world's fragility, evoking an atmosphere of unceasing iridescence and glimmer even in the face of ecological destruction. The title "Into the Hush" might suggest a sonic organisation, but rather, it can be seen as a painterly brushstroke, illustrating the silence that envelops the poet's world.
Karen McCarthy Woolf's 'Unsafe' is marked by tautness and candour, recalling desires often accompanied by shame and exploring themes of memory, life with HIV, and transformation. The language in this collection is steeped in interpenetration, observed with a rich descriptive eye.
John Berryman's 'Only Sing', edited by Shane McCrae, offers a fierce vernacular, meticulous sonics, and a consciousness unwilling to partition the demotic from the highly conceptual. Berryman's skillful use of line and form creates stunning poetry that can stun or quake its readers.
Simon Maddrell's debut collection, 'Lamping Wild Rabbits', is characterised by loss and candour, recalling desires often accompanied by shame. The subjects range from memory to life with HIV, while the language is rich in interpenetration, observed with a descriptive eye.
Lastly, Alia Kobuszko's 'Dream Latitudes' presents an enigmatic debut, approximating a climax that never arrives. This collection is marked by its use of accidentals and changing timbre, often line by line, which creates a haunting music that neither entices nor repulses.
The shared thread among these collections is their willingness to push boundaries and challenge conventional forms of poetry. The poets featured in this review round are masters of their craft, crafting unique voices that both captivate and disturb their readers.