High Nowhere (Indigo Dreams Publishing, 2023), Jean Atkin’s new collection, is packed with implicit
and explicit sociopolitical ramifications that overtake the reader bit by bit,
poem by poem. At first sight, it might seem a disparate book, but is highly coherent
and cohesive, each section adding another layer to Atkin’s portrayal of a
planet in crisis.
This above-mentioned portrayal
sometimes addresses climate change directly, as in references to extinction (such
as to the Tasmanian Tiger) and a poem titled ‘40.2 degrees’. And then it homes in on other negative impacts of human
activity, as in ‘Earth’s
viral load’…
To understand viruses, consider
how humans infest the earth.
How each one wants only to live.
At other times, however, Atkin’s
approach is more indirect. One such example can be found in ‘A wish on the Glynch’, which ends as follows:
…Wish for water
say the millstones, wish for the
grain’s flow
wish for bread, says the village
bread and summer sunshine, bread and
ordinary snow
bread ground for us by the Glynch
brook minnow!
In this case, the poem works in synch
with the rest of the book via its evocation of the loss of local roots and food
sources, hinting at the disappearance of a connection with the place where we
live rather than stating it outright.
And this last point takes on
additional significance once the collection’s focus shifts to Iceland, where
nature might appear eternal, but where modern development also intrudes, as in
the final stanza of ‘Power
Lines’...
September, and I am being driven in
the rain
past the new giants of Iceland, their
electric spell.
I will keep listening in fear of the
future,
in fear of the stories the pylons will
tell.
Jean Atkin’s poetry never rants.
Instead, it observes meticulously. On opening High Nowhere, we find
ourselves in the hands of a poet who trusts us to reach our own conclusions on
the back of her reportage. I dare you to finish reading this book and emerge
indifferent to the role of humans in the plight of the Earth. That’s the mark
of Atkin’s success.
It’s been a while since I read Chris Edgoose’s admirable and enticing
review for The Friday Poem, here, of Geraldine Clarkson’s second full
collection, Med...
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