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I bought Clay on the recommendation of Anthony Wilson in his book Lifesaving Poems. It featured the poem Let’s Celebrate.

It was hard to track the book down, owing, no doubt to a short print run by a dedicated small press (the fate of almost all poets).

It was worth it. I loved and am still falling in love with this collection. I finished reading it and then continued to reread; experiencing that rare moment of joy that occurs when a poem really grips and alters you.

Her poetry is disarming, subtle, honest and original. You feel the joy she has had when composing these poems.

I hesitate to name some favourites because I keep going back and finding something in different poems. The poem Let’s Celebate is one but When We Found Flowers Could Speak is another.



Let’s Celebrate

the moments

where nothing happens.

The moments

that fill our lives.

Not the field bright with poppies, but

the times you walked, seeing

no leaves, no sky, only one foot

after another.



We are sleeping

(it’s not midnight and

there is no dream).

We enter a room – no one is in it.

We run a tap,

queue to buy a stamp.



These are the straw moments

that give substance

to our astonishments;

moments the homesick dream of;

the bereaved, the diagnosed.



Mandy Coe, from Clay (Shoestring Press)



Sometimes the subject of the poem can be fairly straight forward as in that above - a directing of your attention to the little things in life. In others she creates surreal imagery. Field of Crows in which the poet is lying in a field surround by Crows, her eye drawn to their big thighs could have gone in a number of directions but Coe presents them as holding down a “tatty green carpet” and redistributing their weight, changing their position to account for her weight.

On her third collection it’s obvious to me that Coe is an original perceiver and relater of the world around her. If you can find Clay I heartily recommend it.

I also recommend searching for her on YouTube.

I have been saving Some Kind of Fairy Tale to read for about two years, always putting it off to read review copy.

I knew within the first few pages that it was going to be one of those rare books that performs the magic of immersion and so delayed reading until I needed a really good read to pick me up.

In that intervening period Graham Joyce passed away. So my joy at reading this work was tinged with the sad knowledge that there’s no more of his work to be enjoyed, that we have lost an astounding talent.

Some Kind of Fairy Tale is one of those rare books that manages to balance a sense of realism with the fantastic, that manages to rework a fairy tale retelling in a field that is saturated with fairy tale retellings.

Much of the success is achieved I think from what looks like effortless, straightforward writing and a subtle approach to presenting the fantastical elements. Some Kind of Fairy Tale could easily have been written as an urban fantasy where the acceptance of fantastical, or the reality of another world/dimension is taken for granted in the reader. To me though that turns the story into some form of superpower/action story.

I actually felt Some Kind of Fairy Tale dragging my experience of the text the other way. I’m well versed in common fantasy tropes so I find it easy to suspend disbelief when it comes to fairies, fae, etc. But Some Kind of Fairy Tale puts you in that borderland where, at least for a time you are unsure of where the story is going to go. Has Tara, missing presumed dead for 20 years, really been “away with the fairies” or is she suffering some trauma and supressing the memories?

I also suspect that its the focus on the relationships and reactions of Tara’s return that makes this more magical realism than urban fantasy. The tale or plot is less important than the examination of character.

Some Kind of Fairy Tale is fantastical literature and enchanting reading in all senses of the word.

If you are a fan of Kennedy’s short fiction then I suspect that you will enjoy her poetry in The Taste of River Water.

The collection presents poetry with a strong narrative structure and focus i.e. these poems tell stories, the diction and register is fairly plain/natural in its delivery.

Taproot

I must plant the tree seedling
a friend left here on the step
find a place for the cards.
It seems important somehow
a matter of fumbling pride
to fold all this paper square for recycling
the florist wrap from such extravagant, unwanted flowers
the envelopes
I’m saving the envelopes
I forget why for the minute.

…

Kennedy has been criticised for this facet of her poetry and I certainly felt that some of the poems could easily have been flash fiction if not formatted into lines.

Still there’s something to be said for poetry that entertains, that doesn’t require copious rereading for understanding, that gives you story and emotion.

This collection is fairly accessible to the inexperienced reader and I found it a fluid and enjoyable read for me, combining an ease of understanding and artful narrative construction. In terms of content it also ticked my boxes for nostalgia, history and emotional engagement.

Cate is a good storyteller and that shows in her fiction as well as her poetry. There’s a solid sense of completeness in her poems, that she’s stopped at just the right point.

That’s probably the biggest takeaway for me as a poet, her skill at crafting story through poetry.

Are they memorable poems? I suppose time will tell. They were all, however, enjoyable.

Not a wasted cent here.

In some ways this book is a very personal collection of poetry, an anthology for one. Lifesaving Poems was a notebook that then turned into a popular blog.

Anthony Wilson’s inspiration came from a Seamus Heaney quote questioning how many poems a person can recall responding to over a lifetime.

Answering that question, as this book does for Wilson, is going to make for a very select and subjective collection of poems. What the success of the blog showed though was that this didn’t seem to matter.

Lifesaving Poems presents each of the selected poems that Wilson recalls having an impact on him followed by a page or more of commentary. What I liked about the commentary was that it wasn’t academic analysis. Sure Wilson may have directed the reader to technical proficiency but overall I found the commentary clear, concise, conversational and engaging.

Indeed, while some of the poems did not inspire a response in my own reading, a thoroughly enjoyed all the commentary. Sometimes that commentary caused me to review what I’d read and develop a new understanding.

A side effect of reading Lifesaving Poems was of course being exposed to some UK poets who I hadn’t heard of. I did experience some frustration upon discovering (and getting excited about) new UK poets only to find that their works were only out in short print runs or from small publishers whose operational costs were high and priced the works out of the market for me.

But Lifesaving Poems might just be my favourite poetry book of the year. It’s approach to discussing poetry doing much more for me in terms of developing understanding and taste than the standard approach to reviewing and critiquing poetry.

If you’d like to sample some of the commentary go here. The commentary text is similar if not the same to that in the book, though the formatting is different.

A worthwhile spend for lovers of poetry whether poets or readers.