Adam Chiles’ second full collection, Bluff
(Measure Press, 2024), is one of the most thought-provoking books to emerge
this year. Its interest is two-fold. On the one hand, there’s its intrinsic
poetic quality. And on the other hand, there’s the unique implicit dialogue
that it establishes between the U.K. and U.S. poetry scenes.
Let’s start with this latter issue.
Chiles was originally from the U.K. and now lives in the U,S.. His first
collection was published by Cinnamon Press in the U.K. back in 2008, but most
of his recent magazine and journal credits seem to be Stateside, while this
book has also been brought out under the auspices of an American publisher.
However, the vast majority of his current subject matter revolves around his
previous life in the U.K.. And then all the spelling is Americanised, though
the turns of phrase are inherently and quintessentially British.
What’s more, Chiles might be
publishing in the U.S., but his aesthetic refuses to plump for either side of
the American binary polarity between formal and free verse. Instead, he adopts
the more British approach of playing with both methods, often fusing them
within a single poem. As such, Bluff offers an excellent bridge across
the Atlantic, a reminder that what unites us is far stronger than what
separates us. It sets out to include both nationalities and achieves its aims,
dodging false polemics, which brings us neatly on to the poems themselves.
There are direct allusions to both
Edward Thomas and Philip Larkin in this book, and both are present in the
background via Chiles’ portrayal of humans in the natural world, paired with
his fierce clarity of language, as in the following extract from ‘Self-Portrait as a Lighthouse’…
…You inhabit the verges
of this song, neck-deep
amid the salt-scrim,
a pummeled scar,
storm-wrecked, sheer
above the Atlantic’s steel
horizon. Each night,
mind ablaze, you plow
the gale’s blind acre…
And then there are terrific,
pared-back poems of grief for the poet’s father, which run throughout the
collection, again interwoven with the nature The opening lines of ‘Reading Edward Thomas to My
Father’ provide an
excellent example of Chiles’ technique…
From the ninth-floor hospital window,
acres broaden,
scroll out past slate and pylon, the
black moor
unfastening, hour by hour, its thicket
of wounds…
Bluff
is a collection that repays repeated readings. Its ability to generate empathy
in the reader, to find the universal in the specific, are eternal values that
are often eschewed in contemporary poetry, but Adam Chiles is a master of them.
It seems clear that he’s gaining a considerable readership in the U.S., and
it’s time a U.K. audience discovered or rediscovered him too. His poems are a
breath of fresh air.
Sunday 19 May 2024
Transatlantic communication, Adam Chiles' Bluff
Tuesday 14 May 2024
A video from the Rogue Strands reading in London
Thanks to Mat Riches' dexterity with his flash phone, here's a video of me reading a poem from Whatever You Do, Just Don't at the recent Rogue Strands event in London. My YouTube channel seems to be functioning very well as a way of reaching new readers, and I'd be grateful if you could subscribe...
Thursday 9 May 2024
On Establishments
As soon as an old establishment is shunted aside by a new one, the new establishment's days are numbered. Its aura immediately starts to lose its shine, and another establishment, as yet unidentified, begins an ascent to replace it in turn.
And so the process continues. Favours are always traded. Nests are forever feathered. The names and faces and labels might vary, but the dynamics of power remain the same...
Tuesday 7 May 2024
Two new poems in The Spectator
I've had two new poems in The Spectator over the last couple of weeks. It's always good to place poetry in an outlet that reaches so many general readers, but I'm especially happy on this occasion, given that these are my first publications since Whatever You Do, Just Don't came out.
Monday 6 May 2024
Nigel Kent's generosity
Thanks to Nigel Kent's generosity, there are two features about Whatever You Do, Just Don't up at his website. On the one hand, there's a "Drop-in", written by myself, in which I focus on one of the poems from the collection, which is also reproduced in the same article. And on the other hand, there's Nigel's exquisite review of my collection. Here's a quick quote, but you can read it in full via this link...
Stewart’s collection shows what can be achieved when a poet doesn’t ignore most people: when a poet engages with universal concerns in poems that are apparently artless yet finely crafted, in poems that are ambitious yet always accessible, relatable and meaningful.