New poetry: Rapture’s Road; And Then the Hare; Landscape of the Body; All the Good Things You Deserve
Metamorphosis is the escape, flagged throughout by Hewitt’s emblem moths fluttering, raising the question of mutability. Can we control it? “I have chosen one life, interred/ countless other selves.” . Yet the best lines emerge from a sense of powerlessness, in the haunting observation of Evening, With Ghost Moths, “each moth a door/ spinning open/then shut.
The “you” is William Blake and it is a fitting evocation for a collection concerned with both the heavens and the earth. Blake’s dualist spirit is a strong presence, “Venus changes from evening star to morning star/ and almost surpasses earth every 584 days./There is that realignment.//Of earth’s sister or evil twin.” .
Desire and colour partner up in O’Hanlon’s poems, most notably in A Red Negligee in a White Vanity Case whose title brilliantly conjures up the injury in that luxury, “After you found it, after that murder of a row in the night,//we woke to a morning without her.” O’Hanlon uses bare effective props: “One part of me wanted to comfort you,/smooth your wrinkled shirt ... too long hair./ Another part of me wanted to shove, scream, thump. //’It’s all your fault.
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