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cinder_rain's review against another edition
4.0
okay this is a solid 4.25 - approaching 4.5 star territory. Honestly could even be a 5 if I read it again.
a random pick from the poetry section (thx cat) and it was -mwa mwa- excellent.
some poems I obviously connected with more (as is to be expected), but I feel that once I travel a bit more I should go over them again, especially as so many of the poems seem to be directly influenced by the places they are written at or about. I think I preferred the first half of the collection more, though that is not to say that the rest is any worse in quality or beauty (and the last poem, which gives its name to the collection, is just excellent and I think about it frequently).
I truly believe that the author wrote these poems for themselves, and as such, it feels strange to make quantifying statements about them. but I suppose that's what ratings are for (oops).
anyways it was a really good collection, will be picking poetry off shelves randomly more often from now on.
a random pick from the poetry section (thx cat) and it was -mwa mwa- excellent.
some poems I obviously connected with more (as is to be expected), but I feel that once I travel a bit more I should go over them again, especially as so many of the poems seem to be directly influenced by the places they are written at or about. I think I preferred the first half of the collection more, though that is not to say that the rest is any worse in quality or beauty (and the last poem, which gives its name to the collection, is just excellent and I think about it frequently).
I truly believe that the author wrote these poems for themselves, and as such, it feels strange to make quantifying statements about them. but I suppose that's what ratings are for (oops).
anyways it was a really good collection, will be picking poetry off shelves randomly more often from now on.
ingridluver's review against another edition
4.0
"and I will pass it every day as I walk
and stop just here, where the air hones its teeth
on bone, where the mind remembers itself
as a shell, and mourn what was once
a world: one eye rolled to the daylight moon,
the other pressed down into the earth."
"then another enters, flares
like a cigarette
to take its place - you could not
call it song, this unison,
it is without end,
it circles the way
cotton moths dogfight
to the death, to claim
their ration of light"
"Was that the end of love?
No money, in no month to swim,
we stayed until failure hit the rock.
The sun did not come back for us."
and stop just here, where the air hones its teeth
on bone, where the mind remembers itself
as a shell, and mourn what was once
a world: one eye rolled to the daylight moon,
the other pressed down into the earth."
"then another enters, flares
like a cigarette
to take its place - you could not
call it song, this unison,
it is without end,
it circles the way
cotton moths dogfight
to the death, to claim
their ration of light"
"Was that the end of love?
No money, in no month to swim,
we stayed until failure hit the rock.
The sun did not come back for us."
littlerah's review against another edition
3.0
I may review this properly at a later date as I have read this as part of my university course. But in short, this collection is quite a natural and stirring piece, with vivid images and colours that captivate your eye with the way that the words are worked into them.
Edit: 2oth July 2016. Proper Review.
One Eye Rolled to the Writing.
Sarah Holland-Batt: The Hazards
Queensland University Press, St Lucia, Queensland, 2015.
ISBN 9780702253591, pp. 120, $24.95
In searching for a rich new Australian poet to read, I stumbled across editor, critic, and poet Sarah Holland-Batt’s second book, The Hazards in my nearby Readings store. Immediately I was invited in by the simple and visually pleasing cover, of blue wave shapes on a white background, reminiscent of the language that follows.
Although I had not read Holland-Batt’s first book Aria, reading about the selection of literary awards it received such as the Anne Elder Award and the Thomas Shapcott Prize reassured me of the quality of her writing. And seeing that The Hazards was published by the University of Queensland Press in May 2015, on natural and renewable paper, I felt her connection to nature before even reaching the poems.
Holland-Batt opens her collection with the line “Denn alles Fleisch, es ist wie Gras” translating from German into “For all Flesh is as Grass.” This opening line encapsulates her entire message throughout The Hazards focusing on the lives of people, and their emotions and how everything connects to the landscape, lessons that echo with familiarity. In reaching the poems themselves, the reader is met with a series of four parts, marked by their roman numerical values, each containing poems that tie in together, discussions of landscape and history, animals, culture, and a series of ends. In reviewing her collection, I feel it is only fitting to mirror this intriguing and creative technique by looking at each section separately.
I
The first section seems to reflect on Australia and nature, and whilst the opening poem “Medusa” does not appear to link to this, it is instantly entrancing. It leaves a historical eeriness to Holland-Batt’s writing, each word carefully selected.
If I let my shadow cinch in,
whatever the soul is
billows out like hollow silk. (3)
Holland-Batt’s writing emits an essence of suffering across centuries, a warning of actions that impact the human soul. You are immediately shown, what hazards are present in life, such as love and colonisation, the collection’s title awakening within the reader. Further on warnings are reinforced, by a direct reference to colonisation. Within “An Illustrated History of Settlement” a sense of Australianness is evoked, which lingers throughout the section. The impact of European settlement upon Australian wildlife and landscape is questioned, through the sickening and vivid presentation of a dystopian atmosphere.
Then the last thing on the crosshatched horizon
is a smudge of centuries-dead parrots
in the shining black fruit of cabbage trees. (12)
In the first section, you are met with simple word choices and objects that combined with one another and their placement create insightful and powerful images. I felt as though the entire section was a dedication to Australia throughout time.
II
The second section is perhaps the easiest to read, each of the poems about a different animal, ranging from the toucan, to possum and even crab. These exotic animals, some of which were native to Queensland, where Holland-Batt has spent some of her life, create a sense of natural living and connection to the land. Within this section, the types of poems come to life with a list poem, such as “Three Sketches of a Favourite Cat.”
I
My moon-clawed killer
masquerades as jungle, mime-still
under the rackets of parrots (36)
Whilst the poem “Possum” mimics the scurrying of the Australian wildlife through its constant repetition.
roadside possum frozen in car zoom at nightfall,
possum careening on shaky legs,
turned roadside possum, possum playing possum
or possibly possum meet, stemmy eye hanging loose
Holland-Batt plays with line length and format of her poems the most within the second part of The Hazards often resembling the animalistic traits of each creature. It is here that her writing is the most captivating and memorable.
III
I found it quite difficult at first to narrow down why the poems of the third part were put together, as there were many links to love, culture and messages of hope. Within this part of her collection, Holland-Batt draws on a series of different places; Germany, Denmark, Prussia, and France. It can be difficult to connect with some of the poems in this section, if you have limited cultural experience, but the writing is moving, as objects are used to describe different things in inventive ways that may not have been considered before. This allows for some incredibly moving lines from various poems such as:
Somewhere in the lemon trees, a mourning dove
sings privately. Art is not enough, not nearly
enough, in a world not magnified by love. (56)
Holland-Batt’s writing is easy to become lost in, her descriptions and manipulation of language, leaving you with a myriad of emotions to be in awe of.
IV
Possibly the most impressive section in The Hazards, the fourth part questions endings and love as Holland-Batt puts to play the main message of her collection. Through short and sharp lines, she urges readers to show compassion and take care with things that can end or die, bodies returned to the earth. The section opens with two of the most powerful lines from the poem “Insurgency.” A sure reflection on the perils of the past and desire to change the future.
How perfect the past is.
Everything happens there once. (73)
Similarly, the last lines from “Ensign” embody her message to readers.
We have so little time left. We should love. (88)
Holland-Batt’s use of punctuation, full stops demand from readers that these lessons are learned, of aspirations for love and for protection of people and the landscape. And finishing with “The Hazards” as a poem, ignites her powerful concern for life.
The Hazards presents a variety of poems with ranging poetic techniques that appear to follow the same messages of love, life and nature. Holland-Batt makes remarkable word choices conjuring relatable and visual images. She has an incredibly unique writing style that is immediately mesmerising and plays on your tongue as you read it. Sometimes the poems may come across as being too descriptive, leaving readers feeling unintelligent and overwhelmed, but to the most part, Holland-Batt’s use of language is colourful enough to support her and carry the readers. The Hazards is a vibrant collection with a strong Australian voice unlike any other. Holland-Batt’s writing is nothing less than extraordinary.
Edit: 2oth July 2016. Proper Review.
One Eye Rolled to the Writing.
Sarah Holland-Batt: The Hazards
Queensland University Press, St Lucia, Queensland, 2015.
ISBN 9780702253591, pp. 120, $24.95
In searching for a rich new Australian poet to read, I stumbled across editor, critic, and poet Sarah Holland-Batt’s second book, The Hazards in my nearby Readings store. Immediately I was invited in by the simple and visually pleasing cover, of blue wave shapes on a white background, reminiscent of the language that follows.
Although I had not read Holland-Batt’s first book Aria, reading about the selection of literary awards it received such as the Anne Elder Award and the Thomas Shapcott Prize reassured me of the quality of her writing. And seeing that The Hazards was published by the University of Queensland Press in May 2015, on natural and renewable paper, I felt her connection to nature before even reaching the poems.
Holland-Batt opens her collection with the line “Denn alles Fleisch, es ist wie Gras” translating from German into “For all Flesh is as Grass.” This opening line encapsulates her entire message throughout The Hazards focusing on the lives of people, and their emotions and how everything connects to the landscape, lessons that echo with familiarity. In reaching the poems themselves, the reader is met with a series of four parts, marked by their roman numerical values, each containing poems that tie in together, discussions of landscape and history, animals, culture, and a series of ends. In reviewing her collection, I feel it is only fitting to mirror this intriguing and creative technique by looking at each section separately.
I
The first section seems to reflect on Australia and nature, and whilst the opening poem “Medusa” does not appear to link to this, it is instantly entrancing. It leaves a historical eeriness to Holland-Batt’s writing, each word carefully selected.
If I let my shadow cinch in,
whatever the soul is
billows out like hollow silk. (3)
Holland-Batt’s writing emits an essence of suffering across centuries, a warning of actions that impact the human soul. You are immediately shown, what hazards are present in life, such as love and colonisation, the collection’s title awakening within the reader. Further on warnings are reinforced, by a direct reference to colonisation. Within “An Illustrated History of Settlement” a sense of Australianness is evoked, which lingers throughout the section. The impact of European settlement upon Australian wildlife and landscape is questioned, through the sickening and vivid presentation of a dystopian atmosphere.
Then the last thing on the crosshatched horizon
is a smudge of centuries-dead parrots
in the shining black fruit of cabbage trees. (12)
In the first section, you are met with simple word choices and objects that combined with one another and their placement create insightful and powerful images. I felt as though the entire section was a dedication to Australia throughout time.
II
The second section is perhaps the easiest to read, each of the poems about a different animal, ranging from the toucan, to possum and even crab. These exotic animals, some of which were native to Queensland, where Holland-Batt has spent some of her life, create a sense of natural living and connection to the land. Within this section, the types of poems come to life with a list poem, such as “Three Sketches of a Favourite Cat.”
I
My moon-clawed killer
masquerades as jungle, mime-still
under the rackets of parrots (36)
Whilst the poem “Possum” mimics the scurrying of the Australian wildlife through its constant repetition.
roadside possum frozen in car zoom at nightfall,
possum careening on shaky legs,
turned roadside possum, possum playing possum
or possibly possum meet, stemmy eye hanging loose
Holland-Batt plays with line length and format of her poems the most within the second part of The Hazards often resembling the animalistic traits of each creature. It is here that her writing is the most captivating and memorable.
III
I found it quite difficult at first to narrow down why the poems of the third part were put together, as there were many links to love, culture and messages of hope. Within this part of her collection, Holland-Batt draws on a series of different places; Germany, Denmark, Prussia, and France. It can be difficult to connect with some of the poems in this section, if you have limited cultural experience, but the writing is moving, as objects are used to describe different things in inventive ways that may not have been considered before. This allows for some incredibly moving lines from various poems such as:
Somewhere in the lemon trees, a mourning dove
sings privately. Art is not enough, not nearly
enough, in a world not magnified by love. (56)
Holland-Batt’s writing is easy to become lost in, her descriptions and manipulation of language, leaving you with a myriad of emotions to be in awe of.
IV
Possibly the most impressive section in The Hazards, the fourth part questions endings and love as Holland-Batt puts to play the main message of her collection. Through short and sharp lines, she urges readers to show compassion and take care with things that can end or die, bodies returned to the earth. The section opens with two of the most powerful lines from the poem “Insurgency.” A sure reflection on the perils of the past and desire to change the future.
How perfect the past is.
Everything happens there once. (73)
Similarly, the last lines from “Ensign” embody her message to readers.
We have so little time left. We should love. (88)
Holland-Batt’s use of punctuation, full stops demand from readers that these lessons are learned, of aspirations for love and for protection of people and the landscape. And finishing with “The Hazards” as a poem, ignites her powerful concern for life.
The Hazards presents a variety of poems with ranging poetic techniques that appear to follow the same messages of love, life and nature. Holland-Batt makes remarkable word choices conjuring relatable and visual images. She has an incredibly unique writing style that is immediately mesmerising and plays on your tongue as you read it. Sometimes the poems may come across as being too descriptive, leaving readers feeling unintelligent and overwhelmed, but to the most part, Holland-Batt’s use of language is colourful enough to support her and carry the readers. The Hazards is a vibrant collection with a strong Australian voice unlike any other. Holland-Batt’s writing is nothing less than extraordinary.
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