[P]oems like delicate essays, in the sense of attempts-circling, being-with, tentative and tender [...] poems like seed heads, fragility and delicacy, balanced, a symmetry [...] seeding more thinking [... a tender] engagement with moss, air, horizon, the political, the scientific, the human, the non-human and the spaces-between where these things meet. The space on the page, within the poems, and between the poet writing and the world observed, is so delicately balanced. - Dr. Kim Lasky slow build inside/outside what is left unsaid what is beneath what is noticed what is undeclared what evolves, enmeshes, becomes, denies visual-like camouflage like a movement-eyes dance on page, not sure where to go feeling accumulate through pattern of words - many unsaid, but felt What is near talks about what is far-deep time-what is within-unsaid earth suffering earth joy, despite it all - Chris Drury [an exploration of] the political, the specifics of natural things (eg. birds, moss, trees, landscape), boundaries and spaces; and the sense of place, all with sensuality and infinite sensitivity, including the self and its relationship to nature. We were especially aware of how [the poems] handle the very contemporary sense of language with all its problems of reference [exploring] the interconnectedness of all things through linguistic and visual means. - Professor Peter Abbs & Dr. Lisa Dart

About the Author
Kay Syrad's publications include a collection of poetry, Double Edge (Pighog, 2012); two novels, The Milliner and the Phrenologist (2009, reprinted 2012), Send (2015, both published by Cinnamon), Exchange, an art-text collaboration with environmental artist, Chris Drury (Little Toller, 2015), based on a rural residency and exhibition for the climate change cultural organisation, Cape Farewell, and the poetry collection, Inland (Cinnamon Press). Kay, who lives in East Sussex, often collaborates with artists: she has worked with the international art collective Sensory Sites and, between 2013-2016, was the commissioned writer on Last Station, a multi-media arts project exploring the history of the British lightships that used to be stationed around Britain's coasts; here she wrote the libretto for a choral piece featuring an original score by the jazz and world-musician, Trevor Watts, and her artist's book for the project, 1000 tasks: work of the lightship men, was bought by the National Maritime Museum for their permanent collection. With the performer Clare Whistler she has contributed work to Art: Language: Location (Cambridge, 2013) and Telling Stories II at Sevenoaks Library Art Gallery (2014). Kay also writes reviews and articles for various poetry journals.


Book Information
ISBN 9781788641135
Author Kay Syrad
Format Paperback
Page Count 62
Imprint Cinnamon Press
Publisher Cinnamon Press