Blood Child

Eleanor Rees

£9.99
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ISBN: 9781781381809

Publication: April 13, 2015

Series: Pavilion Poetry

In the USA? Buy the Paperback US edition
In her third full-length collection 'Blood Child', Eleanor Rees hones and extends her startling use of language and imagery to enact the many aspects of change – fleeting, elusive or moored in a negotiation of the material world as she roams through the landscapes of self and city. The idea of generation is explored in all its possibilities, the ‘child’ and the ‘girl’ are recurrent motifs, immanent and on the threshold of a magical or imaginative transformation. Landscapes are crossed, swum, burrowed under or flown above; skins and edges are sheared or lost, new coverings found and remade. Rees’s poems ask how new routes can be forged across shifting terrain and she offers the emergent space of the imagination as the only answer.

Eleanor Rees is the author of 'Andraste’s Hair' (Salt, 2007), shortlisted for the Forward Prize for Best First Collection and the Glen Dimplex New Writers Awards, and 'Eliza and the Bear' (Salt, 2009). She often collaborates with other writers, musicians and artists, and works to commission. Eleanor has worked extensively as a local poet in the community. She lives in Liverpool.

A Burial of Sight Blood Child Full Tide Mainline Rail Dusk Town Arne’s Progress Crossing Over St James’s Infirmary Philharmonic Cortege Sheen Magnolia Becoming Miniature In My Ears and in My Eyes Topology Bird Men of the Far Hill Seal Skin The Cruel Mother Blue Black

Rees asserts unarguable truths that stretch beyond the usual socio-historic contexts we like to create in order to locate ourselves as readers.
Nicky Arscott   Poetry Wales

There is a sensuality in Rees's poetry; sensations are beautifully and seductively illustrated. There is also a sense of movement in the work; she takes you on a narrative journey paved by her mastery of words.
  Dundee University Review of the Arts

On Eleanor Rees's previous work: … incantatory, spell-like, trance-inducing – poetry as magical utterance to which you have to submit, make a willing suspension of disbelief …
Matt Simpson   Stride Magazine

On Eleanor Rees's previous work: Eleanor Rees’s debut collection offers up a heartfelt hymn to her native Liverpool. Her dense, textured renderings of its landscapes are eloquent, but it is her importunate, ambiguous relationship with the city that provides these poems with their drive. She is at once possessor and possessed: bestriding the rooftops like a descendent of Whitman one moment, breaking “the top from the cathedral … oozing steam/ cream”; diminished and vulnerable, “tarmac … biting at my ankles”, the next. Her urban-pastoral language strongly recalls Nocturne in Chrome & Sunset Yellow, Tobias Hill’s London collection of last year, but Rees’s responses to Liverpool are freer, more impressionistic. A park’s “benches” and “trees” are overlaid with ghosts of the city’s seafaring past, the “you” of the poem “mending ship’s sails on the dilapidated bandstand”; in other poems the city is “ruled by wolves” or devoured by its citizens, “gnawing at bricks … /Gobbling cornice like icing”. Such imaginative freewheeling carries the risk of disorienting the reader, but the coherence provided by the location gives the poems vital integrity.
Sarah Crown   The Guardian

These are shape-shifting poems from a shape-shifting poet, who listens to what the place has to say and always keeps her feet on the ground.
Paul Kingsnorth  

These poems are an exquisite unearthing of meaning in nature. They trace metamorphosis, find mind in everything, and suggest not so much what things look like to humans but what they feel like to themselves.
Jayne Griffiths  

Eleanor Rees does with language what an origami master does with paper or a contortionist their own limbs: she teases and manipulates it into wondrous, strange, and alluring shapes. It's been several years since I've read work this stimulating, the engagement with which offering such profound peace and pleasure and such resonant rewards.
Niall Griffiths  

On Eleanor Rees's previous work: This is a strongly contemporary voice, but always on the edge of myth, dream, fairy-tale. The title sequence is remarkable: a sustained piece of dramatic-poetic writing, a tour-de-force.
Michael Symmons Roberts  

On Eleanor Rees's previous work: Eleanor Rees comes from ‘over the water’, and her poems seem to issue from a lyric country where they do things differently. Instinctive, elemental and ready for anything they twist and coil marvellously between inner and outer worlds, never resting for long in either, always beguiling or unsettling the reader …
Paul Farley  

On Eleanor Rees's previous work: Rees’s work is completely deserving of its shortlist position, even more so for a voice outside the mainstream.
Ross Sutherland   Metro

On Eleanor Rees's previous work: I love the meaty, muscularity of the poems ... I caught the boat to Ireland from Liverpool recently and found myself remembering big chunks of the river poem as we chugged past the harbour bar.
Frank Cottrell Boyce  

On Eleanor Rees's previous work: Eleanor Rees’s poetry is strikingly pleasing, its distinctive rhythms as insidious as water.
Alison Brackenbury   PN Review

On Eleanor Rees's previous work: Rees comes close to describing the nature of her vision when she writes ‘marrow is all my thinking // as thinking is tired and broken / has no cohesion … thinking thinks too much of itself’. As ‘marrow’ suggests, the core of experience is deep and hidden, and in the romantic-expressionist tradition it is this deep apprehension, not the processes of conscious thought, that most compel her … lusciously, swooningly female in the restless, mobile eroticism that flows throughout the book … The expressionist character of Rees’ work is bold and demanding. She offers nothing that is cheaply mimetic or demotic.
Jeffrey Wainwright   PN Review

On Eleanor Rees's previous work: Here is a poetry that relishes the chaotic and magical; trees and plants abandon gardens and start to move down the street, humans give birth to animals, houses come alive. Eleanor Rees’s language is sensuous, unpredictable. The materials of folktale and border ballad are never far away.
Charles Bainbridge   The Guardian

On Eleanor Rees's previous work: … an ambitious, experimental voice vibrantly charged with the energy of city life.
Carol Ann Duffy  

Format: Paperback

Size: 189 x 118 mm

64 Pages

Copyright: © 2015

ISBN: 9781781381809

Publication: April 13, 2015

Series: Pavilion Poetry

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