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AT DEDALUS PRESS, as well as publishing books by some of the best known names in Irish poetry, we’ve long dedicated ourselves to working with the rising generation of writers, many of whom are equally as comfortable on the stage as on the page.
We’re particularly pleased now to be issuing the debut collections of two of the most admired of the younger poets now publishing and performing across the country. Erin Fornoff and Elaine Cosgrove very much have their own distinctive voices, but what they share is a passion, an urgency and a belief in the power of the word, spoken and written, that promises much for their respective futures.
At the station, slicks of oil tie-dye the puddles
in the concrete, below the pumps, as they tick over
the litres and gallons. They reflect the sun,
turn it wild, hold it in the cracked dips of the ground.
When he balances the till at the end of the shift
the numbers throb coloured across the spectrum;
they cast a lemon scent when the totals align.
The streetlight haze makes him taste salt.
Sneakers hum, make a pale green sound
as players fight for the rebound.
Colour: his secret language. Smell and taste and noise:
his tangled fluency. Can he grow to see his unruly filter
as a gift, beyond affliction? Turn his own faulty wiring
into some exalted circuitry?
The door chimes in the town’s one restaurant.
It blooms a purple sheen behind his eyes, and dims
as the noise fades. They know him when he walks in.
He’s been hanging out at this same gas station,
drinking this same beer, having this same chat,
since growing pains disheveled his sleep. He’s mastered
the edit of his own thoughts.
Small towns remake teenagers
into polished stones, tumbled by peer pressure,
grey as concrete. Every sound dances an acid trip
across his brain. He wonders what shapes
the train whistle makes when it blows
in other places. He is oil catching sunlight.
What does the failed heart know anymore?
Does it know to live on until it dies;
to stop being a balled-up fury
of wringing hands that bathe in salt to wrinkles?
What does the breaker know of the lupine days
paid for on a three-bedroom at minus one,
minus you; Canary-coloured walls ear
the bounce-back of silence over dinner.
What does the connection do when it’s gone?
How do the lines fill up their hollow gaps
with new wires? Will the feedback from the
permanent interruptions make you turn off the sound?
This from your breaker: learn to make
a joy that’s all your own and make it very loud.
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Our programme for 2017 features an exciting range of new books by both well-known and up-and-coming writers, as well as one of our most ambitious anthology projects to date in the shape of The Deep Heart’s Core.
Thank you in anticipation for your support for small press publishing. Poetry Matters: Spread the Word.
Congratulations to Doireann Ní Ghríofa who, on 02 Sept, in its 40th anniversary year, received the Rooney Prize for Irish Literature for her poetry.
Dedalus Press is proud to have published Doireann’s English-language debut, Clasp, described as follows by Nyla Matuk in Partisan Magazine’s Year in Books:
“a moving study of the fragility of our bonds: those between mother and child, and between ourselves and the animals, people, former selves, and places in our minds and midst. The poet’s empathic considerations are applied to history as well, which she concretizes to reveal moral transgressions in Ireland’s past… Clasp is remarkable for its detailed observational capacities of a concrete yet fraught quotidian life.”
More details of the award may be found here: https://www.rte.ie/culture/2016/0905/814341-rooney-prize/
And Doireann Ní Ghríofa is among the guests on The Poetry Programme on Saturday evening (10 September 2016) at 7.30 pm, RTÉ Radio 1, for a feature on the Prize, which also includes Dedalus poet Gerard Fanning. (See RTÉ website for links if the date has passed.)
We’re finally there with issue 1 of THE LEVEL CROSSING (see HERE).
THE LEVEL CROSSING is the new occasional journal of poetry and poetry-related prose from Dedalus Press. This first issue includes new work by poets from Ireland, the UK, the US, Australia, Canada, Poland and Korea, among others, poets already associated with the press as well as more than a dozen writers with no previous connection.
The issue features a report by Keith Payne on the new Galician poetry, Gerard Smyth on B.H. Fairchild, Vincent Woods’ writing on Macdara Woods’ new book, Music From The Big Tent, and Pat Boran on the attractions of haiku and landscape.
There are new poems by Catherine Ann Cullen, Doireann Ní Ghríofa, Jane Williams, Tom Matthews, Hanyong Jeong and James Silas Rogers, among others.
Gerry Murphy writes about being a poet / lifeguard, and Grace Wells considers the poem ‘Selkie Moment’ from her recent collection, Fur.
There’s a sample of contributions – by Karl Parkinson, Jennifer Matthews, Paul Perry and Jessica Traynor – from the forthcoming anthology The Deep Heart’s Core: Irish Poets Revisit Their ‘Touchstone’ Poems.
And we’re delighted to present our feature on ‘Poems of Place’, the poems being drawn from over 900 submissions received in a recent open call for submissions.
In putting together THE LEVEL CROSSING, we set ourselves the target of producing a magazine that, in content, feel and attitude, was positive, outward-looking and, not to overstate the case, didn’t look like it was produced in the 19th century. For a first issue, we’re happy and excited with the result but can see lots of ways we could further improve. With a bit of luck, we’ll get that chance: after all, the barriers come down, but then the barriers also go up again!
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