This is an entrancing read. The story, told in a sequence of poems, of a diligent but burnt-out island crofter who buys a fourth-hand workaday tractor and discovers that, in his hands, it can convert to a space capsule. And he wastes no time in taking off on nightly joyrides of galactic exploration, ‘each whirl a defiance of his ancestry’.
Murray’s gift for storytelling is at full power here, the narrative a roller coaster of loops and bends and inversions; images so vivid they give you a jolt, like the one of the crofter ‘stealing red threads from a sunset’, for a weaver neighbour, ‘to lighten up the overwhelming gloom/of dark twill stretched before him.’
(Maggie Rabatski)
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The three poets in this collection have a lot in common. They’re gritty, tough, their observation is born of personal experience, not all of it pleasant. That is recommendation enough but there are many moments too of pure revelation. Donna Campbell’s pearls brimming with moonlight that are the bi-product of pain, the stark beauty of Lesley Benzie’s poem about a father’s death ‘Fan she an her sester met their faither’s unbent gaze…’ and Linda Jackson picking up ‘petals of words from smart-dressed lovers’. Such simple beauty is not easily achieved. At its best poetry can be both empathetic and transformative. This is it, at its best.
(Hugh McMillan, poet)
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Donna Campbell’s first collection may be called ‘Mongrel’ but it is purebred poetry. Her use of words, especially in the Glaswegian vernacular, combine with images to form brutally beautiful poems about aspects of life that less fearless poets might shun. (Lesley Benzie, poet)
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Like nesting dolls indeed, these are poems of tender love and longing which open out to encompass a century or more of family history. They are poems of emigration and alienation, of love and loss, brought alive by the detail in Kathryn Metcalfe’s writing. I particularly liked the longing evoked in ‘Back Court’ where the patch of blue sky grows smaller every day, even ‘weeds would be welcome here’ and the young woman’s sigh is a small brown bird reaching for freedom. In Seanchaidh/Storyteller, the title character comes to life as ‘Ancient campfires burned / in his eyes as he worked / the fabric of hand me down / stories’.
The poems come to us as snapshots, scattered and seemingly random, in much the same way that family history is remembered and shared.
(Jennie Turnbull, Writer)
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Charles Bukowski is a master at writing in a similar fashion about the underclasses but Graham Fulton’s work is better by miles. Not a wasted word and each phrase as carefully balanced as a swaying drunk on a bus.
(Des Dillon, writer)
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