Her thoughtful and sensitive take on the subject and the collection moved me a great deal.
London Grip describes itself as ‘an independent online venue, a cultural omnibus providing intelligent reviews of current shows, events and books, well-argued articles on the widest range of topics, an exhibition space for cross-media arts and an in-house poetry magazine.’
In her review, Abigail Ardelle Zammit comments:
“Heidi Williamson’s third collection is… a sensitive and subtle reflection on the culverts and rivers within the human body that carry the past.
Through a lexicon that is coloured by Scottish inflections (‘thrawn’, ‘cairn’, ‘drookit’), terse versification intensified by assonantal and consonantal patterning, and a sense of place etched through the vocabulary of return…Williamson weaves her delicate sonata of loss, upheaval and natural resilience….
The collection’s secret is the gentle metaphor – not the sensational collocative term, but the knowing that comes gradually to light.
[F]ound poems and white space [express] the shock and dismay of that moment in time when everything changes and even language fails.By the third and final section, we know that place is not simply a geographical territory that humans inhabit, but that momentous events which occur there become part of our DNA.”