Everything in this production been given a Scandinavian flavor – special kudos to prosciutto for playing its role as boar’s meat quite well.
Part of the maturity of Davey McGravy is how, though each poem has its own shape, each is a necessary part of the whole.
Editor Jon Stallworthy’s preference in this superb anthology is for poems that question, or provoke questions about, war.
David Plante’s non-fiction and fiction are of a piece. There is the honesty of a writer who is willing and able to, first, face himself, then, write what he sees, and then, allow the world to see his seeing.
Throughout his writing, poet Seamus Heaney’s penetrating imagination is one that strives for accuracy.
There is a paucity of richness in The Goddess Chronicle. The myth might have been, but wasn’t, mined for tales of compassion, or inevitability of sorrow, or the psychology of misogyny or of revenge, or the strictures of fate.
There is a steadiness about Nicholas Roe’s writing that is deceptive; the life in the Life does not jump off the page, but it accumulates during the reading so that something of what it felt like to be around John Keats remains, as things do when truly experienced.
Poems of concise and precise description and philosophy find their way among poems of memory and daily life, money, art, love, and the oddities in giving names. J. Kates’s technique is alive and various throughout.
David Ferry’s voice is quiet but never shirks. It admits directly and indirectly that the world is a perplexing place.
Ingeborg Bachmann wanted freedom for them both. She says in her letter, “I am free and I am lost in this freedom.” Dominique Frot is a brave actress. She presents the poet’s freedom in her body and voice.