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Blood Child (Pavilion Poetry LUP)

Eleanor Rees

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Description for Blood Child (Pavilion Poetry LUP) Paperback. Features poems that explore the idea of generation in all its possibilities, the 'child' and the 'girl' are recurrent motifs, immanent and on the threshold of a magical or imaginative transformation. Series: Pavilion Poetry. Num Pages: 64 pages. BIC Classification: DCF. Category: (G) General (US: Trade). Dimension: 120 x 189 x 18. Weight in Grams: 78.
In her third full-length collection 'Blood Child', Eleanor Rees hones and extends her startling use of language and imagery to enact the many aspects of change – fleeting, elusive or moored in a negotiation of the material world as she roams through the landscapes of self and city. The idea of generation is explored in all its possibilities, the ‘child’ and the ‘girl’ are recurrent motifs, immanent and on the threshold of a magical or imaginative transformation. Landscapes are crossed, swum, burrowed under or flown above; skins and edges are sheared or lost, new coverings found and remade. Rees’s poems ... Read more

Product Details

Format

Paperback

Publication date

2015

Publisher

Liverpool University Press

Condition

New

Series

Pavilion Poetry

Number of Pages

Place of Publication

Liverpool, United Kingdom

ISBN

9781781381809

SKU

V9781781381809

Shipping Time

Usually ships in 7 to 11 working days

Ref

99-34

About Eleanor Rees

Eleanor Rees is the author of 'Andraste’s Hair' (Salt, 2007), shortlisted for the Forward Prize for Best First Collection and the Glen Dimplex New Writers Awards, and 'Eliza and the Bear' (Salt, 2009). She often collaborates with other writers, musicians and artists, and works to commission. Eleanor has worked extensively as a local poet in the community. She lives in ... Read more

Reviews for Blood Child (Pavilion Poetry LUP)

On Eleanor Rees's previous work: 'Rees’s work is completely deserving of its shortlist position, even more so for a voice outside the mainstream.' Ross Sutherland, Metro On Eleanor Rees's previous work: 'Eleanor Rees comes from ‘over the water’, and her poems seem to issue from a lyric country where they do things differently. Instinctive, elemental and ready ... Read morefor anything they twist and coil marvellously between inner and outer worlds, never resting for long in either, always beguiling or unsettling the reader …' Paul Farley On Eleanor Rees's previous work: 'This is a strongly contemporary voice, but always on the edge of myth, dream, fairy-tale. The title sequence is remarkable: a sustained piece of dramatic-poetic writing, a tour-de-force.' Michael Symmons Roberts 'There is a sensuality in Rees's poetry; sensations are beautifully and seductively illustrated. There is also a sense of movement in the work; she takes you on a narrative journey paved by her mastery of words.' Dundee University Review of the Arts 'Rees asserts unarguable truths that stretch beyond the usual socio-historic contexts we like to create in order to locate ourselves as readers.' Nicky Arscott, Poetry Wales Reviews 'Together, Blood Child and Riverine convey seductively cross-fading time-scapes; it is in the end this quality that makes these remarkable poems linger in the memory, unsettling and disquieting, redefining so-called realities. Dark, visceral, her use of language and image is controlled and concentrated, and through it the message is one of connection. World and human personality are intimately woven together; we are not observers of the game but part of it, belonging to the continuum. It comes down to time, the context through which we move; past and present occupy the same space within Rees’s theory of relativity, and chronology for her is measured both in every day and cosmic terms, just as local and universal, yesterday, today and tomorrow brush against one another, with us –rushing but static– in their midst.' Sean Street, Tears in the Fence ‘Eleanor Rees does with language what an origami master does with paper or a contortionist their own limbs: she teases and manipulates it into wondrous, strange, and alluring shapes. It's been several years since I've read work this stimulating, the engagement with which offering such profound peace and pleasure and such resonant rewards.’ Niall Griffiths 'These poems are an exquisite unearthing of meaning in nature. They trace metamorphosis, find mind in everything, and suggest not so much what things look like to humans but what they feel like to themselves.' Jayne Griffiths 'The messages Rees’ poems deliver are difficult to transcribe prosaically, moving as they do in a densely fairy-tale or dream-logical atmosphere. This aspect of her work is hugely effective, creating a lush dreamscape full of mud, sludge, mulch and other fecundities, populated by eerie running children, unreliable parents, poet-birds and their panoramic perspectives. [...] The poems in Blood Child show an astute, painterly eye and a flair for outlandish and surprising detail. [...] Blood Child [is an] engaging, imaginative text that demonstrates a great love and respect for its folkloric sources, and [is] a thought-provoking read.'Dave Coates, The York Review 'This is a short collection of 19 poems but the author and publishers should be applauded for having a collection that does not fit the poem a page routine. [...] In this third collection we can read the substantial creativity of Eleanor Rees and her melding of history, nature and emotion and the skill in developing a ‘oneness’ from a multitude of ideas. Foremost in her writing is the use of changing forms, transmogrifying, as it were into different species whilst in full flow which offers both continuation and further development of style as well as theme. There is also the touching on the darker recesses of the unconscious mind, not a digging, more a small bore-hole into Pandora’s Box.'J. Johnson Smith, poetryparc Show Less

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Blood Child (Pavilion Poetry LUP)

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