Lampedusa, the island at the southern tip of Italy. Junction of two worlds, North Africa and Europe. Site of ancient trade routes. And now with a different, unwanted cargo spilling onto its shores.
Not for nothing has `kafkaesque’ entered the lexicon as the best description of the frustrating minefield encountered in dealing with any corporate or bureaucratic business these days. Or the systemic invasions of privacy at every turn. Joseph K has become the exemplar of the anonymous, numberless state to which we can all now be condemned.
D A Prince is impressed by the deft and distinctive use words in Janet Fisher’s latest collection.
Emma Lee admires Claire Crowther’s skilful use of appropriately restrictive forms in her poetic homage to silent cinema – and finds also that this pocket-size chapbook is generously packed with images and information.
Kat Soini is favourably impressed by a debut pamphlet collection by Maria Apichella that is both inclusive and challenging
In the past, Gilman has dealt with the pressures on artists to succeed (Baseball), racism in the white ivy-league (Spinning into Butter) and this time tackles child protection and social workers. Heaven knows, the latter’s reputation here has been torn to shreds in recent years. Gilman’s social worker is, typically, hard-working, conscientious, very, very caring. And compromised.
Merryn Williams applauds a new selection of poems by Sidney Keyes (edited by Rod Madocks) which should help restore the reputation of this nearly-forgotten World War Two poet
John Snelling finds that Caroline Natzler‘s poetry manages to remain accessible even while taking the reader into areas that are far from simple.
Josh Ekroy praises Oliver Comins’ poetry for its use of tactfully included detail as a way of conveying emotion held in check.
John Forth looks at poems written by Tamar Yoseloff to accompany an exhibition of David Harker’s images and finds they are sometimes more assertive than the understated artwork, but are also very much at one with it.
Victorian essayist Thomas de Quincey described it as “perhaps the most superb work in the language”. More recently, scholar Paul Edmonson in his new, highly readable introduction to Shakespeare says the play is “as innovative as anything Shakespeare ever produced”.
The exhibition Drawing the Line features David Harker’s drawings & paintings, with accompanying poems by Tamar Yoseloff