The Wrecking Light
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- £5.99
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- £5.99
Publisher Description
Robin Robertson’s fourth collection is, if anything, an even more intense, moving, bleakly lyrical, and at times shocking book than Swithering, winner of the Forward Prize. These poems are written with the authority of classical myth, yet sound utterly contemporary: the poet’s gaze – whether on the natural world or the details of his own life – is unflinching and clear, its utter seriousness leavened by a wry, dry and disarming humour.
Alongside fine translations from Neruda and Montale and dynamic (and at times horrific) retellings of stories from Ovid, the poems in The Wrecking Light pitch the power and wonder of nature against the frailty and failure of the human. Ghosts sift through these poems – certainties become volatile, the simplest situations thicken with strangeness and threat – all of them haunted by the pressure and presence of the primitive world against our own, and the kind of dream-like intensity of description that has become Robertson’s trademark.
This is a book of considerable grandeur and sweep which confirms Robertson as one of the most arresting and powerful poets at work today.
‘Robin Robertson continues to explore the bleak, beautiful territory that he has made his own. His stripped-bare lyricism, haunted by echoes of folksong, is as unforgiving as the weather and poems such as 'At Roane Head' show him writing at the height of his considerable powers’ The Times
PUBLISHERS WEEKLY
Robertson's fourth collection is astonishing in its eclecticism; the poems touch on family, folklore, mythology, religion, travel, sex, shame, love, violence and nature. The book is divided into three sections "Silvered Water," "Broken Water," and "Unspoken Water" whose titles reflect Robertson's obsession with the sea and humankind's relationship with the natural world. In "Signs on a White Field," the narrator "walk out onto the lake./ A living lens of ice... breathing, readjusting its weight and light." In "Law of the Island," nature is no longer restorative but an instrument of torture: "Over his mouth and eyes/ they tied two live mackerel... and pushed him/ out from the rocks." A woman bears four sons in "At Roane Head," "web-footed... more/ fish than human" whom her husband eventually murders, "relaxing them/ one after another/ with a small knife." But it is "The Plague Year" that poses the question at the heart of this collection: "What is there left/ to trust but this green world and its god,/ always returning to life?"