Fetch by Colin Bramwell; Girling by Eve Esfandiari-Denney; The Dead One, The Unconscious One, Thundering in Your Ear, Thriving Slumber by Jay Gao; Belling the Leopard by Clementine Ewokolo Burnley; The Matter by Padraig Regan
Fetch by Colin Bramwell (And Other Stories, £14.99)
Bramwell’s translation of Fernando Pessoa’s work into Scots won him considerable recognition: it took the Oxford Weidenfeld Translation prize and the Highland Book Prize. Between source and target language, there is always a gap; the translator endeavours within that gap to identify meaning and intention, and that is the difficult work of translation. Fetch, Bramwell’s own debut collection, lyrically thematises this gap in the poet-human’s condition: “I’m an instrument for something else / a digital piano that if you opened it up / you wouldn’t understand the wiring.” Fetch (in Celtic folklore, a doppelganger) is by turns solemnly tender, comically worldly, literarily devout. Here you’ll find deep engagement with Russian poets such as Osip Mandelstam and Anna Akhmatova, poems that fuse Scots and English, alongside filial memories and premonitions of fatherhood. “Death is certain, but back then I was too young for that shit.” For a debut, Bramwell’s poetics convey an uncanny sense of wisdom, patience and, eventually, peace.
Girling by Eve Esfandiari-Denney (Fitzcarraldo, £12.99)
Before theme and subject, there is the pure, iridescent beauty of Esfandiari-Denney’s sentences; a singular voice that is alluring and sensuous, pleasurable to follow to whichever subject the poet chooses. The subjects are girlhood-cum-womanhood, the line between debilitating illness and delusional wellness (“thank god / you invested / in lion’s mane”), the flickering concept of free will for a species so programmed by genes: “I have wondered to what extent my cancer diagnosis is my mother’s, or my grandmother’s cell mutation, before my own … I look up from a cigarette mid-sentence…” The collection hybridises recognisable prose forms: the essay, the diary, the text message, the anecdote. These are interspliced with short-lined lyric poems that startle because of the bubbly voice from which they come: “I hope it’s ok to die. I can / become something / like actualised metaphor.” The magic of this collection is that it is never highfalutin, finding a way to make an ending like “DJ are you listening did you read to the end will you blow my voice a kiss” powerfully funny and moving.
